Julian Argüelles - Scapes
This quirky album features Argüelles in a variety of interesting settings. It was his 3rd album as a 'leader' (though only his elder brother, Steve is actually lead) and is clearly full of musical notions that Argüelles felt were important to preserve. It does seem an odd choice to create what's essentially a homemade recording considering the number of other high quality musicians Argüelles might have engaged, but there's no reason to begrudge the innovations found in this collection.
The opening number, 'Sectioned', deploys a triple groove with overdubbed horns creating an ebullient overture. An entomophobic soprano duet follows in 'It's an Ants Life', which is a concise free jazz outing. The mellower 'Intro to the 3 J's' has Argüelles take the edge off his Getzian bark and create a warmer atmosphere with a Gil Evans vibe. This segues into the minimalist soprano riff of 'The 3 J's', a twisting kaleidoscope of unsettled emotion. Floating solo soprano solos here provide another shade in the Arguellian palette. The slightly bright intonation is quickly forgiven because the pathos is so palpable. Baritone overdubs make for enjoyable textures in the coda. Another segue, this time into the medieval strains of 'First Wessex'. Cymbal roles fill out the sonority beautifully as homogeneous horns lay down a more neutral colour. The ride is an odd addition and the piece fades out without climax. Fat Cats demonstrated that tenors like to go wild too, this time in a wonderfully hideous argument. 'Fasa' has interesting winds providing what could be described as a world-music feel, the breaths providing as much groove as the notes. Slightly wonky tuning here may lend authenticity but does feel a bit strange. Triangles and closing hi-hats lay down a hypnotic rhythmic canvass in what again feels like a tune without grand climax. Argüelles has certainly provided great variety in this record, showcasing a wide range of styles in often short and simple musical fragments like 'The Tide'. Here, the breathiness of his tone serves a key programmatic function. 'Louder than Words' sounds like standard fare for saxophone quartet. The bulging phrases don't always quite fit the writing but clearly Argüelles thinks they do and there's no sense of his being outside his stylistic comfort zone. 'Intro to Hix' has a bluesy, pop characteristic not so often heard on soprano. When the layers and drum rimshots enter we know that we're in for a musical treat. Bass drum almost provides harmony when it eventually enters. Again intonation wavers, but here it is groove that probably matters more. Bell strikes on cymbals add an extra vibrancy before the intro wraps up. 'The Peaks' features a sizzling drone which sets the scene for a soprano that haunts and menaces. Another 'Scape' as it were, to which we don't need to have travelled in order to appreciate the expansive musical region. 'Cookiegate' is another cheeky piece in an album which for its emphasis on solo horn passages remains engaging throughout. The sax quartet/kit combo is interesting and doesn't become too rambunctious despite the solid energy. Improvised solos on this record tend to take an equal role to the arrangements themselves which is a positive direction for a modern jazz album. 'Cd 318' has the sax EQ'd and reverbed in yet another configuration this time hosting a faux-classical study. 'Legit' sax players may wince but should note that they often butcher standards with scant regard for stylistic norms. 'The Owl' glides into focus next with winds soaring over a reasonably convincing ethnic drone. Owls are fascinating creatures and the brief homage paid here is laudable. 'Las Ramblas' features clarinets and claps in a latin/arab blend. It's an interesting choice to make recordings of music which generally wouldn't be reproduced in live settings, at least not with the same instrumentation. Whether the technology that facilitates this liberates or restricts is an open question. Just enough claps at the end before the second part introduces a contemplation possibly with too much bulging. The clapping fade out was slightly overdue, but the resulting calm is satisfying. Soprano gymnastics here remind us of Stefano di Battista's exquisite 'Round about Roma' record, though Argüelles' soprano tone is rougher and closer to Trane. This was an unusual conclusion to a record with a fair claim on eclecticism. The ideas are shorter than an average jazz record and developed sometimes only briefly but it's a successful endeavour nonetheless.
The opening number, 'Sectioned', deploys a triple groove with overdubbed horns creating an ebullient overture. An entomophobic soprano duet follows in 'It's an Ants Life', which is a concise free jazz outing. The mellower 'Intro to the 3 J's' has Argüelles take the edge off his Getzian bark and create a warmer atmosphere with a Gil Evans vibe. This segues into the minimalist soprano riff of 'The 3 J's', a twisting kaleidoscope of unsettled emotion. Floating solo soprano solos here provide another shade in the Arguellian palette. The slightly bright intonation is quickly forgiven because the pathos is so palpable. Baritone overdubs make for enjoyable textures in the coda. Another segue, this time into the medieval strains of 'First Wessex'. Cymbal roles fill out the sonority beautifully as homogeneous horns lay down a more neutral colour. The ride is an odd addition and the piece fades out without climax. Fat Cats demonstrated that tenors like to go wild too, this time in a wonderfully hideous argument. 'Fasa' has interesting winds providing what could be described as a world-music feel, the breaths providing as much groove as the notes. Slightly wonky tuning here may lend authenticity but does feel a bit strange. Triangles and closing hi-hats lay down a hypnotic rhythmic canvass in what again feels like a tune without grand climax. Argüelles has certainly provided great variety in this record, showcasing a wide range of styles in often short and simple musical fragments like 'The Tide'. Here, the breathiness of his tone serves a key programmatic function. 'Louder than Words' sounds like standard fare for saxophone quartet. The bulging phrases don't always quite fit the writing but clearly Argüelles thinks they do and there's no sense of his being outside his stylistic comfort zone. 'Intro to Hix' has a bluesy, pop characteristic not so often heard on soprano. When the layers and drum rimshots enter we know that we're in for a musical treat. Bass drum almost provides harmony when it eventually enters. Again intonation wavers, but here it is groove that probably matters more. Bell strikes on cymbals add an extra vibrancy before the intro wraps up. 'The Peaks' features a sizzling drone which sets the scene for a soprano that haunts and menaces. Another 'Scape' as it were, to which we don't need to have travelled in order to appreciate the expansive musical region. 'Cookiegate' is another cheeky piece in an album which for its emphasis on solo horn passages remains engaging throughout. The sax quartet/kit combo is interesting and doesn't become too rambunctious despite the solid energy. Improvised solos on this record tend to take an equal role to the arrangements themselves which is a positive direction for a modern jazz album. 'Cd 318' has the sax EQ'd and reverbed in yet another configuration this time hosting a faux-classical study. 'Legit' sax players may wince but should note that they often butcher standards with scant regard for stylistic norms. 'The Owl' glides into focus next with winds soaring over a reasonably convincing ethnic drone. Owls are fascinating creatures and the brief homage paid here is laudable. 'Las Ramblas' features clarinets and claps in a latin/arab blend. It's an interesting choice to make recordings of music which generally wouldn't be reproduced in live settings, at least not with the same instrumentation. Whether the technology that facilitates this liberates or restricts is an open question. Just enough claps at the end before the second part introduces a contemplation possibly with too much bulging. The clapping fade out was slightly overdue, but the resulting calm is satisfying. Soprano gymnastics here remind us of Stefano di Battista's exquisite 'Round about Roma' record, though Argüelles' soprano tone is rougher and closer to Trane. This was an unusual conclusion to a record with a fair claim on eclecticism. The ideas are shorter than an average jazz record and developed sometimes only briefly but it's a successful endeavour nonetheless.