The latest permutation of the Michael Bisio Quartet is – like about anything undertaken by its namesake bassist does – not a quartet that’s the run-of-the-mill, garden-variety kind. Their new release MBefore introduces Michael Bisio leading a very seasoned crew comprising of vibist Karl Berger, viola player Mat Maneri and drummer Whit Dickey, who know each other quite well.
However, the confluence of bass, viola, vibraphone and drums is an uncommon occurrence and the initial listen of MBefore might sounds a little bit exotic, especially the contrast of Maneri’s dark and dramatic viola to the chiming resonance of Berger’s vibes. Because of their familiarity with each other and democratic mindset (not to mention a little ingenuity), they not only make it work, they thrive in this setup.
All that makes Michael Bisio’s role sometimes more crucial than normal as he finds the low notes that ties together the two poles of sonorities and weaves a melody out of it that gives Maneri and Berger a harmonic plane to play on, as heard on “AC 2.0.” Indeed, The group follows the old Weather Report axiom where ‘everyone solos and no one solo’ to great results; “Intravenous Voice” comes forth as a group piece where each moving part (instrument) is clearly heard but as clearly functioning as part of the collective piece.
Dickey’s genius on drums is easy to behold on the first minute he has alone during “Sea V 4 WD (part 2),” able to control timbre, velocity and cadence to the nth degree. That carries right on over when the rest of the quartet enters – Bisio on arco bass harmonizing with Maneri – and effectively leading from behind the kit. Dickey plays an even larger role for “Sea V 4 WD (part 1),” as the dual sawed string duo and Berger cede just enough of the spotlight to put it squarely on the drummer, whose Motian-like moves serve the harmony even more than it serves the beat.
Michael Bisio introduced “r. henri” with Kirk Knuffke and Fred Lonberg-Holm on the 2021 release The Art Spirit. This presentation exhibits an extra restlessness that’s more suitable for this group.
The lone cover “I Fall in Love Too Easily” (a Bisio favorite) presents an opportunity to take something old and make it new again. They achieve this by deftly manipulating space and with each taking on a unique approach to the classic melody that correlates well with the other three. The restraint as Bisio pairs off with first Berger and then Maneri belies a melancholy lurking just below the surface.
“Um” is the only group-composed piece, which almost certainly means it’s a group improvisation. The freedom afforded by this doesn’t mean the four are going to step outside of character they have formulated over the composed pieces. This remains very much an ensemble where everyone is as mindful of what they don’t play as much as what they do, all in the interest of a sharply defined group dynamic.
An instrumentalist of the highest order, Michael Bisio is underrated as a leader and composer. MBefore is but the latest instance where he excels in those areas as well.
MBefore is set to release on March 25, 2022 through TAO Forms. Pre-order/order it from Bandcamp.
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