Tom Pierson’s Last Works spans 40 years of music, including some world-class musicians ranging in age from teens to their 70s and drawn from across the globe. Pierson has been based in Japan since the early 1990s, and sent this two-disc set to me via Tomahawk Press, publisher for my book All That’s Jazz. His note said he hoped I would be interested in it, and that I would enjoy the music. I am and did.
Pierson was soloist with the Houston Symphony Orchestra at age 13 when conductor Sir John Barbirolli described him as “having a most sensitive musicality and feeling for the finer shades of tone and expression.” After studying at the Juilliard School in New York, Pierson conducted Leonard Bernstein’s Mass at the Metropolitan Opera and scored films for director Robert Altman. He released his first album Tom Pierson in 1982, and after this success formed his own orchestra.
Those experiences serve him well on Last Works, where each composition features an individual and characterful arrangement, along with stellar solos from the exceptional musicians in the current edition of his band. Tom Pierson’s influences include Gil Evans, who once called him “the greatest unknown composer I know,” and a plethora of jazz legends with whom he has worked with and collaborated with over the years.
Not so unknown now, Pierson’s experience and depth is clear – and, more than that, his sheer passion for expressive compositions, arrangements and his imaginative use of the diversity he has at his disposal in this orchestra. Saxophones and woodwinds include “Blue” Lou Marini, Mark Vinci, Shuichi Enomoto, Neil Johnson and Michael Lutzeier. Trumpeters are Dominic Derasse, Mike Ponella, Tim Leopold and Lew Soloff. Trombonists are Ben Herrington, Robinson Khoury, Dan Levine and Jeff Nelson. Pierson is joined in the rhythm section by electric bassist Kanoa Mendenhall and drummer Pheeroan Aklaff.
Last Works opens with “Abandoned,” a journey through styles, variations and different emphasis. It’s also a look to the past, with a repeating theme and profoundly creative arrangements which allow different soloists and sections of the orchestra to shine at different times, from the baritone sax of Michael Lutzeier to the clarinet of Mark Vinci and a very expressive trombone solo from Robinson Khoury, who was only 19 at the time of recording. Long enough to resemble a mini-suite, the tune has sections which each offer their own character, yet are united by the transitioning theme and rhythms of the bass, percussion and piano.
“Chandra Lowery’s Samba” features a stand-out sax-led section and solos from Marini. The track is tied together by the driving samba rhythm, and the trickery in the percussion lines.
“By the Martyr’s Decree” begins with repeated two-note phrasing from many instruments. A gentle, bubbling track for full orchestra, the song features some glorious, brassy sections underpinned by steadfast rhythmic repetition and volumatic variations, finishing with ethereal quietness.
“Times Remembered” is a strolling, heavier number with lots of brass, harmonic woodwind and an absolute gem of a solo by trumpeter Lew Soloff across the rhythms. His turn ends with some screeching high notes which dip down to acrobatic lower notes and work their way back again in an effervescent fountain. Coupled with the harmonics of the doubled saxes, it’s clever and beautiful. “Winter’s End” features a samba groove, over which the thematics of the melodies work their way, woven across the driving rhythm maintained by drums and bass. It features the trumpet of Mike Ponella and has a tremendous finale.
“Dark Story” uses four-by-four rhythms and triadic harmony for its melodic theme, into which are dropped brassy explosions and sassy woodwind tones. There is a sultry piano solo that raises its head above the heaviness to introduce a lighter tone. The structure here flows and ebbs; it’s pure old-school jazz with brassy announcements before changes. That is, until the incredibly controlled soprano sax solo from “Blue” Lou Marini changes the tone into something emotive and intimate. A heart-melter. “The Pharaoh’s Serpent,” the final track of the first disc of this set, is meaty, grinding and changes of emphasis make it twist and turn. The title befits the long, interlinked cadences which slot together like a snake. Full-throated brass shouts while the saxophone tops out with wailing phrases. Wonderful.
The second disc of Last Works opens with a declaration of intent: “Elipsis” is loud, raucous and fully formed in texture and depths, layered with difficult changes and key swaps, handled with ease by the musicians and presented as a complex but fully completed work, with a completely soul-stealing sax solo and a distinctly Bernstein-esque section which reminds the listener of West Side Story. “Sultry” is gentler again. A melodic structure is created by the musicians, out of which Shuichi Enomoto emerges in a delicate and intricate tenor solo to create an atmosphere of calm. That’s echoed by the other musicians, as they take their sounds down to become low, gentle and supportive. The finish is lovely.
“45/8” is an unusual title, until you work out that this might be the actual time signature of the piece. The wonderful sax solo comes after a selection of interludes from trumpet, bass and percussion, and there are links between repetitions of threes – because some threes begin as the last one fades. A very different and difficult take, with an automatic tendency to try to divide the music into neat threes or fours due to the fades in and out. There is a sense of slight imbalance in places, so 45/8 is about right. “In God’s Name” is subtle, gentle and builds to a crescendo, along with the percussive input, before a near silent interlude. Next is a gentle sax and woodwinds, and a lovely trickling solo from the piano of Tom Pierson. The swing-iest track on Last Works.
“Two Becoming 3” is interesting for its musical variations. Transitioning from multiples of two in the phrases to multiples of three later in the track, the title is apt. By the end, the phrases are in fives – which is two plus three – but putting math aside, “Two Becoming 3” includes some manic and charged solos from Shuichi Enomoto and “Blue” Lou Marini that lift the spirit endlessly. “Among Strangers” boasts a big-band sound; it’s a full-on jazz composition with one foot firmly in the past structurally, while the ears are also turned towards a modern interpretation of the orchestral role. Solos emerge from the depths, rather than the music stopping to let them ride. Even the piano solo is interjected with other instrumental commentary. A lovely track to finish.
I was intrigued as to why Tom Pierson had tried so hard to get this music to me. “I particularly wanted you to hear Last Works,” he said, “because your broad exploration of this incredible cultural phenomenon – jazz – goes beyond the boundaries of sex or style. While the jazz segregationists are pulling backwards, you are leading jazz criticism forward. My music will thrive in the wider universe you advocate.” Nice!
What is striking about Last Works is the sheer strength of arrangement in the tracks, the consideration of the musicians and consequent variations in composition. Each track is unique and there is assurance and a surety to the music which is shared among the players. They take their roles with absolute aplomb. The delivery is simple and beautiful at times, and at others it is raw and heavy, making contrasts as sections interplay with each other to create the colors which flow through this music.
This is some of the best and most listenable music with a traditional bias I have heard for a long time. I want to say so much more about Tom Pierson’s Last Works – the changes, the way it grabs your ears and then some – but I will simply close by saying: It is joyful, reassuring and wonderful. I commend it whole heartedly.
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