Joel Ross: Gospel Music
The latest album from vibraharpist Joel Ross is described in the publicity as a “sonic interpretation of the biblical story and a reflection of his upbringing in the church”. But anyone expecting a wholly soulful outing, packed with sounds and well-worn paths associated with traditional gospel music, will soon realise this is not the case. After dipping into the opening tracks, it’s clear this a very individual journey for Ross and his musicians.
Whatever the merits of his sidemen, Ross is definitely the strong voice here. He favours two mallets rather than four and his dexterity is there to be heard. Most of the compositions have discernible themes which are reworked over shifting rhythms, rather than following a strict time-signature. Some of the tunes are based on repeated figures which are in turn stretched to their limit or act as intentional tension-creating ploys.
The more substantial pieces – such as Hostile, Trinity and Protoevangelium – come early in the programme and lay out the group’s modus operandi, with Ross’s bold lines taking the plaudits. The later tracks tend to be of a shorter duration with Praise To You, Calvary and The Giver having vocalists of the mundane variety. Overall, this second album under Joel Ross’s name for Blue Note can be admired for its technical expertise and production values, even if it lacks that sparkle which communicates itself to the listener. It’s available as a CD or double vinyl.
Discography
Wisdom Is Eternal (For Barry Harris); Trinity (Father, Son And Holy Spirit); Protoevangelium (The First Gospel); Hostile; The Shadowlands; Nevertheless; Word For Word; Repentance; The Sacred Place; A Little Love Goes A Long Way; Praise To You (Lord Jesus Christ); Calvary; The Giver; To The Throne (The Mercy Seat); Be Patient; The New Man; Now & Forevermore (78.13)
Ross (vib); Josh Johnson (as); Maria Grand (ts); Jeremy Corren (p); Kanua Mendenhall (b); Jeremy Dutton (d). USA, 2025.
Blue Note 880582 9
Gary Peacock & Ralph Towner: Oracle
When first issued back in the 90s, this coming together of two consummate musicians did not find favour in every quarter but listening to it some 30+ years down the line it is easily viewed as a release which gave both the ECM label and followers of the pair what they expected. The tunes come mainly from the pen of Peacock with Towner (read Michael Tucker’s recent obituary) offering up Hat And Cane and the title track being a joint effort. They seem to skate through the material with some ease, the guitarist perhaps the dominant voice overall on both his guitars, although Peacock should never be viewed as a shrinking violet.
The bass player may have spent a good portion of his distinguished career at the freer end of the music but at heart he always remained a strong melodically based player, never more so than during his long tenure in the Keith Jarrett trio. Hence his strong lines on Oracle were a perfect fit with the similarly inclined Towner. The guitarist’s picking is assured, a given we came to expect from him, his lines carrying an authority matched by the bass player whose mobility on his instrument was matched by only a few. (It is difficult to believe the criticism Peacock received from some quarters with regard to his intonation.) This is one of those albums that’s very easy to listen to without being “easy listening”.
Discography
Gaya; Flutter Step; Empty Carousel; Hat And Cane; Inside Inside; St. Helens; Gracie; Burly Hello; Tramonto (49.51)
Peacock (b); Towner (classical and 12 string guitars). Oslo, 1993.
ECM 1490
Aneta George: Eclipses
Macedonia-born vocalist Aneta George operates out of Paris and this is the fifth album under her own name. The recording was made to coincide with two major celestial events, a solar and lunar eclipse, hence the title. The singer veers between wordless vocals, the English language and – on Ne Si Prodavaj Koljo Cifligot, a traditional Macedonian piece and the only non-George composition – her native language. The tempos throughout tend towards slow to slowish, the final song on the album, Dharma, being the outstanding exception; it’s described in the publicity material as being a “powerful fusion of drum-and-bass with Balkan jazz”.
The leader’s voice is a pleasant enough instrument, which does not dominate the album, for alto saxophonist Denis Guivarc’h and pianist Helios Mikhail add considerable weight to each tune, as does bass player Nicolas Bauer, whether acting as a pivot or supplying fleet-fingered solos. Aneta George has four previous albums under her belt, having been performing for over a decade. She’s perhaps not a name known to many jazz followers but well worth catching if she should appear at a venue or festival near you.
Discography
Vistina; Molitva Na Sonceto (Prayer To The Sun); Denis Oro; Echoes; Wake Up; Rollercoaster; Ne Si Go Prodavaj Koljo Cifligot; Dharma (55.06)
George (v); Martin Milcent (p); Denis Guivarc’h (as); Nicolas Bauer (b); Helios Mikhail (d). Paris, 2024.
Independent
