Search - Drew Gress :: 7 Black Butterflies

Erstwhile sideman steps out

Troy Collins | Lancaster, PA United States | 05/24/2005

(4 out of 5 stars)

"Drew Gress' follow up to his debut recording for Premonition Records: "Spin N' Drift," surpasses its predecessor by leaps and bounds. While the previous album felt timid and tentative, this album, with its expanded lineup, reaches further and pays off greater creative dividends in the process.



A stalwart session player in the Downtown NYC music scene, bassist Gress is a frequent collaborator with the likes of Tim Berne, Don Byron and Uri Caine. There is a stylistic similarity to his contemporaries found in these compositions, most notably the scores of Tim Berne, who also plays alto sax on this album. But where Berne favors a more episodic and discursive outlet, Gress finds plenty to work with in shorter frameworks and strong melodic hooks. Employing a veritable who's-who of Downtown session players including newcomers Ralph Alessi on trumpet and Craig Taborn on piano, not to mention in-demand drummer Tom Rainey, Gress and company execute a program of modern post-bop that is as tough as it is tender.



Tender was the operative word on Gress' previous release which seemed to fall short of what he and his cohorts are normally capable of. This session remedies that. Gorgeous ballad work can be found on "Wing And Prayer" and "Like It Never Was," but the bulk of the record flat out swings. "Bright Idea" and "Blue On One Side" combine catchy melodic hooks with tough post-bop improvising while "Low Strung/High Strung" and "Zaftig" build slowly to take the players out to the edges of tonality, a task these musicians handle with aplomb. The ensemble rapport is tight and virtually telepathic. They spend as much time listening as they do playing off each other, shifting tempos and timbral approach, rewarding the attentive listener with their acute call and response.



Intriguingly produced by David Torn, he manages to add a modernistic spin to the record without ever abandoning its decidedly acoustic nature. Horns occasionally dart back and forth in manic reverb stereo pans and periodic drum breaks erupt into blasts of nuanced distortion. Torn employs a production style that is more akin to breakbeat science than classic jazz, (but never so overwhelmingly as to cause any undue concern to more conservative minded jazz fans).



Drew Gress has spent quite some time in the sideman trenches of the metropolitan jazz scene and now has an album representative of his singular talents. A record worthy of repeated listens, it epitomizes the masterful balance between the composed and improvised, a defining feature of superior jazz records. "7 Black Butterflies" is Gress' strongest solo statement to date and easily on the short list for 2005's best ensemble recordings."

A major advance for one of the finest younger jazz bassists

Jan P. Dennis | Monument, CO USA | 06/12/2005

(5 out of 5 stars)

"I'm pretty much completely on board with Troy Collins's excellent review of Drew Gress's third solo recording. My only questions are why he doesn't give it that fifth star, and why he disparages his previous recordings. I agree that this is certainly the best thing Gress has recorded, but my own view is that it merits the highest accolades that a reviewer can give it.



Let's take a closer look. First off, Gress has assembled the quintessential downtown jazz ensemble: Ralph Alessi (trumpet); Tim Berne (alto sax); Tom Rainey (drums); and Craig Taborn (piano). These guys move with fluid grace between post-bop, free-bop, and modernistic no-bop as anyone on the planet. They consistently nail whatever musical soundscape is called for.



Second, the compositions have both a melodic appeal and post-modern smartness often lacking in these downtownish sessions. Really, there's not a loser in the nine selections--entirely admirable for the avant-garde. I'm thinking nearly any savvy jazz enthusiast could get on board with the esthetic going down here.



Third, Tim Berne plays as attractively and assertively as I've ever heard him. There's a warmth and burnished quality to his delivery that I've never heard from him before.



Fourth, Craig Taborn proves once again that he is simply a monster on his instrument. It seems that no matter what the context, Taborn has the concept and chops to deliver just what's needed. Check out his solo on "Bright Idea" for a sample of what I mean.



Fifth, I believe I can say without contradiction that this is the finest playing Tom Raney has ever committed to disc. Besides his trademark polyrhythmic attack, there's such deep swing and rhythmic propulsion to his playing that one simply cannot imagine anyone else adequately filling the drum chair.



Bottom line, this is brilliant contemporary jazz of the absolute highest accomplishment."

A jazz masterpiece that demands more listenings...

R comme Ralingue | Bordeaux, France | 04/30/2006

(5 out of 5 stars)

"I first listened to this cd last year when it came out. When I finished listening to the entire CD back then, I found it too difficult for repeated listenings. Then I left it aside for some months... untill today. I don't regret to listen to it again. Gosh ! What a thrill ! This is avant garde jazz, full of surprises, a record that is to be a classic within a few years' time. I find no lacking moment of interest. Tim Berne on alto sax is great, inventive, Tom Rainey's drumming is one of the finest : he makes a continuous rhythmic comment on what is being played in the front line (Ralph Alessi on trumpet is smart). If you hate nostalgic music or that tendency to reproduce a kind of jazz without being creative, then try this all acoustic quintet. You shall be surprised because there's something out of this world going on here... It's complex, creative and exciting for neurons. This is one of those rare CDs that will continue to reveal its beauty and depth with repeated listenings. I know I'll spend more time with it. Again, let time accomplish miracles..."