#ches smith

The opening track, “Minimalism,” begins with a rangy tune played by trumpeter Nate Wooley and sung by Shara Lunon. The rest of the ensemble, made up of winds (flutist Anna Webber, clarinetist Oscar Noriega, and tenor saxophonist James Brandon Lewis), strings (violinist Jennifer Choi, violist Doyle Armbrust and cellist Michael Nicholas), bassist/keyboardist Shazmad Ismally, and Smith, takes up a furious ostinato, over which Lunon intones a spoken word monologue. A quick flourish finishes this curtain-raiser.

“Remote Convivial” is composed of an additive group of melodies for winds against another busy strings-and-percussion ostinato. Lewis and Choi engage in a squalling interlude, accompanied by a funk bass line from Ismally and economical drumming from Smith. All of a sudden, the music veers off, the acoustic instruments cease, and synths create sounds that recall early digital bleeps. As if this never happened, the group resumes, with an angular melody, sustained wind chords, and a busy string ostinato. The strings drop out, and Lewis, Webber, and Noriega close out the piece, repeating the tune over simple quarter notes from Smith.

“Disco Inferred” submerges the dance style in several polyrhythms played by the rest of the ensemble. Smith unleashes a synth interlude that reappears several times and keeps the groove moving while the other plays go their own way. “Sweatered Webs (Hey Mom)” and “Shaken, Stirred Silence” are afforded time for the musicians to stretch out. Strident chords for winds and undulating repetitions for strings are juxtaposed with solos by Wooley, Lewis, and Noriega. Lunon contributes more spoken word, her voice incantatory in demeanor.

“Unyielding Daydream Welding” begins with sustained octaves that soon start to undulate. A third of the way through, the drums and electronic beats kick in, over which waywardly crossing lines and vocal ah’s provide abundant syncopation. Lewis solos in a muscular outro. The final piece, “Exit Shivers,” begins with thunderous percussion, thrumming bass, a plethora of glissandos, and an altissimo sustained note. In another musical oasis, strummed cello, dyadic clarinet lines, and microtonal bends on flute create a slice of soft chamber music. After a thunderous crescendo, accompanied by string glissandos, Webber once again provides a discordant, effects laden solo. Noriega and Webber then trade bird calls while Smith adds metallic percussion to the proceedings. Lunon and the winds begin the final section, in which propulsive drumming and modern jazz-inflected playing solidifies the background. Noriega adds a virtuosic coda, followed by slow-moving tutti verticals to conclude.

The combination of intricate, composed pieces, often diverging at formal boundaries, and fulsome improvisation from everyone in the group makes for a compelling totalist offering that is one of my favorites thus far in 2024.