Nine albums in, UK-born pianist John Escreet is still on the ascendency and with his first album leading a trio, he is reaching another new level. That just-released ninth record Seismic Shift presents a trio of highly capable peers: Escreet is joined by drummer Damion Reid and bassist Eric Revis.
Escreet has partnered with undeniably world-class jazz masters on his records before. Having just Reid and Revis so sympathetically alongside him puts a bigger spotlight on this pianist’s virtuosity, composing and thoughtful ingenuity, making his performances stand out while forcing listeners to take notice.
Seismic Shift introduces itself by jumping off into the abyss: “Study No. 1” possesses a certain modern dynamism that Vijay Iyer but very few others possess. A sure sense of purpose frames unbridled adventurism, where Escreet leads but Revis and Reid are ceding nothing in their roles. Likewise, once “The Water Is Tasting Worse” ramps up, it’s off to the races, a portrait of a relentless trio and being relentless as a tight unit. And then, Escreet ends it with a delicately melodic coda that still packs a punch.
Even in recycling an old tune, such as “Equipoise,” Escreet makes it resemble something written just for these turbulent times while letting the courtliness of Stanley Cowell’s melody shine through. Group improv is the approach taken for “Outward and Upward” (and the brief but spiky “Brief Reset”), some turbulence at the start but settling into a nice groove that is rich with rhythmic subtleties from Reid and Revis.
“RD” is built upon a revolving bass figure at first but surprises when midway through the song burst opens with a craggy figure that Escreet coyly only suggests. Through it, he exhibits a delicious, polytonal chunks that recall Don Pullen, McCoy Tyner and even Cecil Taylor. But then, imagining memorable motifs and deftly manipulating them is something Escreet excels at. He does just that for “Perpetual Love” before giving way to Revis’ stylish aside that provides a launch point for lively piano antics.
The introductory bass cogitation is the first of many twists on the episodic “Digital Tulips,” where the pattern is played aggressively and then slightly slower, using tempo variation to give the illusion of melodic variation. A nervous disquiet to start “Seismic Shift” portends another outburst of energy but Escreet takes his time, letting the chords flow out grandly while Reid supplies much of the tumult.
Seismic Shift is, as I opined in 2014 about Sound, Space and Structures “temporal, visceral, and unpredictable – things that are achieved in different ways.” Yet John Escreet continues to find those new, different ways. With Damion Reid and Eric Revis bolstering his boundless vision, this is that rare record where both massive chops and innovative harmonic ideas both come in spades.
Seismic Shift is available now, from Whirlwind Recordings.
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