Adasiewicz, Erb, Roebke: Dream Between
This is the third album by free-improv trio Christoph Erb (tenor and soprano sax), Jason Roebke (bass) and Jason Adasiewicz (vibes). It appears on the (lower-case) veto-records, run by Erb. He is Swiss and based in Lucerne; Roebke and Adasiewicz are American, key members of Chicago’s free scene. The trio seem to have something of a dream fixation. Their debut Yuria’s Dream (2014) was followed by More Dreams Less Sleep; this release continues the theme.
The opening and title track begins with Erb’s gentle dreamy sounds, Adasiewicz’s crystalline vibes, and sparse touches from Roebke on bass. The saxophone becomes fuller and more powerful, and the bassist turns to a buzzing arco, as the piece evolves a spacious, hypnotic pulse. Things turn more eventful, as the vibes ring out and soprano saxophone gives a plangent whistle.
The contrasting second piece, Between Dreams, is more dynamic – a playful, vigorous restless approach, with a greater sense of soloing. The sound and recording are gorgeous. Adasiewicz’s ringing vibes are wonderful, while Erb’s multiphonics on Between Dreams have a rare beauty. This is a truly simpatico trio.
In my day job in philosophy, I’m editing a book on dreams – Wideawakes And Nightmariners. Its late author, Roger Squires, follows Wittgenstein, questioning the assumption that dreams are events in sleep. Not sure what the trio would make of that – maybe wake up with a start? Joking apart, Dream Between is a serious piece of free improv that deserves the listener’s fullest attention.
Discography
Dream Between; Between Dreams (46.00)
Christoph Erb (ts, ss); Jason Roebke (b); Jason Adasiewicz (vib). Chicago, 15 October 2025.
veto-records d006
Ralph Alessi: A Sun That Never Sets
Some albums you fall in love with – or indeed hate – from the opening notes. This is one that needs a few listens to think about. The compositions are eventful but not immediately lovable. But they grow on you, and you come to admire the result. It’s trumpeter Ralph Alessi’s fifth as a leader for ECM, and features a quintet with his brother Joseph on trombone. (An earlier quintet on ECM was Imaginary Friends (2019), with saxophonist Ravi Coltrane.)
Joseph’s day job is with the New York Philharmonic – so he’s playing for one of the world’s leading orchestras, and recording for one of the world’s great jazz labels. The state-of-the-art group is completed by pianist Matt Mitchell, bassist John Hébert and drummer and vibraphonist Ches Smith. That drummer has never, to my knowledge, appeared on a bad album, and this release is up to his high standards. Mitchell on piano plays inside and outside the harmonies.
It’s an intelligently conceived and varied programme, with all compositions by Ralph Alessi. A Sun That Never Sets is trenchant, Nothing Is Dead is plangent, with Joseph Alessi adding otherworldly moans to the background. The overall effect is astringent – an album to admire if not to love, therefore.
Discography
A Sun That Never Sets; Nothing Is Dead; Relaxed Misery; Sweet Spot; Ether; Twichild; Transitional Imagery; Slow Dancing Bear (56.49)
Ralph Alessi (t); Joseph Alessi (tb); Matt Mitchell (p); John Hébert (b); Ches Smith (d, vib).
ECM 2864
Ran Blake, Dominique Eade: Roots & Byways
This music is deep. Dominique Eade met Ran Blake when she arrived at Berklee School of Music nearly 50 years ago, and they’ve worked together on the Great American Songbook ever since. Blake mentored her in the Third Stream Department at New England Conservatory, and they’ve collaborated as a duo, in a quartet and accompanying silent films. Finally they recorded together on Whirlpool (2011), Town And Country (2017) and now Roots & Byways.
Blake, born 1935, is a pioneer of Third Stream – the synthesis of jazz and classical approaches that flourished in the 50s and 60s. His pianism has sensitivity, restraint and occasionally exuberance – his control of feel and dynamics is masterly. Blake’s preferred settings are solo, and in duos with vocalists – though Short Life Of Barbara Monk (Soul Note, 1987) and Sonic Temples (GM, 2001) are superb quartet and trio dates. Like the rest of his output, most of Roots & Byways is in pensive, melancholy vein.
Much of the programme is outside conventional jazz parameters, however – there are standards, pop songs, film music and folk tunes. Torch songs are a predilection: Whitney Houston’s Saving All My Love For You, Hank Williams’ Lost Highway and I Remember by R&B veteran Leon Sylvers III. Jazz compositions include Max Roach’s Mendacity and Mingus’s Portrait. Jon Hendricks wrote lyrics to Monk’s Pannonica, but Eade sings it as vocalese, without lyrics. Monk’s comment is relevant: “Don’t listen to me! I’m supposed to be accompanying you!”
I’m fussy when it comes to vocalists – I love Louis Armstrong, Billie Holiday, Monica Zetterlund and few others. These are singers who interpret the lyric with an excellent time-feel, and – more subjectively – an appealing timbre. Some singers make the top flight when they’re with the finest accompanists – Tony Bennett with Bill Evans for instance. Eade is a great interpreter of the lyric, but her intonation is variable – her occasional insecurities are a result of brave melodic choices. But then response to intonation is more subjective than we’d expect.
The duo plays imaginatively and intuitively with an eclectic and adventurous repertoire, and an excellent understanding of the traditions supporting this music. The album was recorded in 2023, when Blake was 88. Long may he continue.
Discography
Mood Indigo; Grey December; Portrait; Mendacity; Saving All My Love for You; Lost Highway; Who Cares; Dreamsville; Les Grognards; Way Out There; Pannonica; What’s Your Story, Morning Glory; You Go to My Head; I Remember; On Top of Old Smokey; Watch What Happens (46.11)
Blake (p); Eade (v). Boston, 2023.
Sunnyside Records SSC1813
