Trumpeter Daniel Nissenbaum describes his band Duotrio as a modular jazz chamber ensemble. He originally conceived the name from the work he was doing with a drummer friend and a rotating cast of additional players, typically in quintet settings: hence a duo and a trio.
On In the Bright and Deep, the chamber jazz concept holds true, though the numbers are stretched to breaking, as the configurations range from a three-piece (soloduo?) to Nissenbaum with a 60-piece orchestra. Whatever the numbers, all the approaches share a similar esthetic, whether acoustic, electronic or somewhere in between.
The album opens with one of the two non-originals, “Ribbons Down My Back” from Hello Dolly, featuring Nissenbaum, a quartet from Holland, and strings. The strings hold forth on the following “Prelude,” which is just that – a quick and quirky intro to “Ach Kesem,” with both Nissenbaum and saxophonist Donald Simeon in a lyrical mood. As the piece winds down, the horns are subsumed into an echo-laden piano, ending with a gentle swoosh.
Daniel Nissenbaum says the goal is to “incorporate a wide range of instrumentation and genres not normally found in improvised music.” Some of the material, such as “Carry Me Gently (and Lay Me Down in Fields of Heather),” is straight out of the ECM playbook: Euro-jazz with some instrumental interplay. Other Duotrio tunes, such as “Allegro” and “Rounder’s Tempo,” are classical in structure. Then you hear electric piano, and you think this is more of a retro recording.
“Allegro” features a triple-tracked Nissenbaum, his lines winding in and around one another. The only criticism is the song’s brevity: It clocks in at just 48 seconds. “Allegro” leads into the title track, which features the overdriven sound of Wurlitzer electric piano.
“Granite Shapes” is perhaps the standout moment, starting as a gently swinging tune, electric piano and trumpet stating a simple melody before Nissenbaum and Duotrio saxophonist Simeon play off the Wurlitzer. Brief spots from bassist Tijs Klaassen and pianist Koen Schalkwijk surround an exquisite solo by Nissenbaum. All of the soloists seem to embrace the maxim “Leave the audience wanting more.”
The stately “Rounder’s Prayer” is followed by the insistent beat of “Magic Doors,” originally by the trip-hop band Portishead. The horns come in partway through to reinforce the electric piano lines. That’s one of the most interesting things about Duotrio’s recording: While there is an aspect of chamber jazz about In the Bright and Deep, Daniel Nissenbaum is able to vary the approach without the results ever sounding jumbled or forced.
The concluding “Requiem (For My Father)” ends the proceedings on a wistful note, as Nissenbaum showcasing his gorgeous tone. All told, Duotrio’s In the Bright and Deep is an enjoyable outing, one that like the too-brief solos leaves the listener looking forward to more.
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