feature photo: TJ Huff
The word “pith” refers to the crux, the core of something. When drummer, composer Tomas Fujiwara set out to make music for his new, 7 Poets Trio, that’s what he was aiming for, but employed a novel approach to get there. Starting with elaborate, multi-layered pieces that could conceivably be suited for an entire orchestra, he stripped out all the streams he deemed extraneous, leaving the elemental parts that could be undertaken by three musicians.
With Pith, Fujiwara opens an exciting new front in his already substantial career as a leader and collaborator. The 7 Poets Trio already courts intrigue because of its somewhat unusual drums-cello-vibraphone setup but it’s made all the more unique in that the cellist is Tomeka Reid and the vibes player is Patricia Brennan, two up-and-comers in the progressive jazz scene who Fujiwara tabbed just as they are hitting their stride as forward thinkers on their respective instruments. And both bring a substantial amount of formal background from the classical music as well as the jazz realm, perfect for carrying out Fujiwara’s vision for melding the two forms in a sort of updated, minimalized version of the Third Stream.
So while Brennan’s vibraphone will necessarily evoke Milt Jackson in this setting, she is also channeling early Bobby Hutcherson as well. Tomeka Reid is often heard using her cello as a bass, Oscar Pettiford style, but like Brennan, brings a fresh, modern approach to her instrument that fits in nicely with Fujiwara’s plan.
Reid’s cello immediately stands out on “Solace,” used so effectively like a bass and easily bridging the melodic chores of Brennan with the rhythmic lift from Fujiwara. Later, Reid and Brennan combine for a clever lead line conjured by Fujiwara that functions as a countermelody that perfectly fits for both cello and vibraphone.
“Swelter” is an insistent pulse that builds up pressure until it finally blows up before regrouping. The sheer “Resolve” has what at first appearance resembles distant synth washes but they’re actually echoing saws from Reid’s cello that eventually share the focus with Brennan for Fujiwara’s thoughtful piece as the leader’s accents completes the complex but graceful performance.
Sometimes the pendulum swings (literally) more toward jazz, as it does for “Josho,” where Fujiwara’s touch is light and so attenuated. Reid practically plays lead bass the whole way through with Brennan complementing her with well placed notes.
The three-way interaction is especially heightened during “Other,” where their considerable improvisational skills come to the fore even within the parameters set out by Fujiwara’s chart. For “Breath,” the three work together hand-in-glove in a more structured arrangement; there are even moments where Fujiwara’s snare is in lock-step with Brennan’s vibes on knotted patterns.
Tomas Fujiwara and his 7 Poets Trio open up a cool new vista of jazz with the spare but daring Pith, built on careful composition but fueled by risk-taking improvisation.
Pith, from Out Of Your Head Records, is now available. Go get it from Bandcamp.
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