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Southern California Pianist Eric Bell Presents Multi-Layered Approach on His Debut Album For the young pianist ERIC BELL and his colleagues, jazz is a primary influence, but far from the only one. Bell's experience includes extensive work with instrumental groups and vocal jazz choirs, along with gospel, country, and blues ensembles. His debut album, VULNERABILITY, features bassist COLE SAINBURG, drummer NICO VASQUEZ, plus two guests, guitarist DEAN ANBAR and tenor saxophonist ERIC HIRSCHHORN. Just like the leader, the sidemen’s resumes mix jazz groups with pop and fringe groups. All these varied influences work together to create a deep melting pot of music which is unpredictable as it is fascinating. The trio rehearses frequently with attention to creating unique music which honors the legacy of great jazz trios. The group can swing with great energy whenever it wishes, but it is equally concerned with creating multi-layered soundscapes. "Start" opens the disc with a moody introduction in free time. A dialogue between Sainburg and Vasquez emerges, with Anbar eventually joining the conversation over Bell's repeated ostinatos played on piano and Hammond organ. Of this track, Bell said, “I have this fascination with the way that jazz artists start their records. I've compared the ways that various artists open their albums, and I wanted to pay homage to the thought process that goes into finding an opening track. On our album, there are soundscapes, reverb guitar, Hammond organ and many other sounds in addition to the standard jazz piano trio.” Bell is a longtime fan of South African flugelhorn player Hugh Masekela, and his arrangement of "The Way You Look Tonight" pays tribute to Masekela's unique sound and rhythmic feel. Unlike many jazz versions of this standard, Bell's arrangement maintains the deeply romantic atmosphere of this moving ballad. Wayne Shorter's "Witch Hunt" is one of the highlights of the album, owing to its stunning interactive setting. Wayne once said that jazz means "I dare you, " and this arrangement allows any section to be played at any tempo at any time. Bell explains, “Once we finish playing the form, one of the players will give a large, bombastic cue. Then there is silence, and I set the new tempo by playing part of the opening line. We did a couple of different takes of this song, and each of them had different tempos.” "Hans" is dedicated to the great film composer Hans Zimmer, with an additional nod to the Israeli bassist Avishai Cohen. For this tribute, Bell juxtaposed the intensity of Avishai with the lyrical style of Hans' moods. About a year ago, Bell and Sainburg went to Japan for a summer holiday. While there, they visited an ancient castle and had to wait outside in a long queue. Bell said that the only way he could endure the intense heat was by "Fighting the Sun, " and the tune of that name uses a continuous quarter-note drumbeat as a symbol for the unrelenting Japanese sun. The tension between the tempo and the intense music played against it represents the struggle between the forces of nature and humanity. The title track, “Vulnerability, ” was inspired by the differences between the fast tempos and complicated harmonies of bebop and the more relaxed pace of gospel music. Bell feels that it takes a lot of bravery and vulnerability to play jazz with simple changes and slow tempi. "Beautiful Love" celebrates straight-ahead swing, with Hirschhorn essaying the classic Victor Young melody, followed by a rhythmic and energetic solo by Bell. The tenor man takes the harmonies out during his powerful solo and the rest of the band responds with outstanding cross-rhythms and ever-growing intensity. The album closes with "I Didn't Need You Anyways, " and while that title might sound like a nasty end to a love affair, it’s actually a message about older jazz musicians. Bell offers, ”I have been around several elder jazz musicians who are rather elitist, and who take a gatekeeping mentality to this music. I have learned a lot from my jazz elders, but I felt confined and anxious about impressing them, rather than focusing on the music.” This tune is quite traditional from its New Orleans parade beat and its soulful harmonies to the straight-ahead swing of the solo section. After Bell dishes out the grits 'n' gravy, Sainburg lays on the meat and potatoes with a generous helping of bass, and then Vasquez's drum solo finishes off the meal with a tasty dessert. The explorative music of Eric Bell and his talented colleagues balance tradition and innovation in ways that are blazingly creative and deeply respectful. Hopefully, Bell will have the opportunity to take this music on tour across the country so that fans and critics can experience this unique music in person. |
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