Talented pianist and composer Aaron Blakey presents a set of varied tunes which are performed by a band that is not only great, but one that has at its heart, the spirit of creativity.
With The Stars,They See Aaron Blakey has opted for a more compact ensemble than was the case with his previous effort Obihiro, which featured a core quintet plus an extra guest on some tracks. The new group features a change of front line from two saxes (tenor and alto) to just the single alto of newcomer Will Vinson, but fortunately, the excellent team of bassist Thomas Botting and drummer Tim Firth have been retained. The end result is the presence of a tried and true rhythm section that underpins the two primary soloists, Blakey and Vinson, both of whom are able to stretch out if the mood takes them. The album is relatively brief and contains only six tracks, these running to some 35 minutes, and it’s firmly in a mainstream contemporary vein, the tunes all penned by Blakey. As you would hope, there is plenty of variety within the set, though save for two slower pieces, they’re all medium tempo.
The album kicks off with ‘Little Fun’, a catchy, blues-like Latin tune which is built on a piano vamp, and contains some classic harmonic manoeuvres. Vinson solos first, his sound buoyant, and, using some sly motivic development, he creates a two chorus statement that has a particularly satisfying arc.
The band moves into a swing feel as Blakey enters, giving extra propulsion to his Tyner-like approach, the hue of proceedings immediately changing to the exciting flavour often associated with that legendary pianist.
It’s not exclusively that way for its entirety, but does hew close to that model, and like Vinson before him, Blakey contributes a two chorus offering which exhibits considerable compositional logic. The core vamp is used to bring back the theme, and once completed, there’s a brief coda which affords Firth a little space to showcase his prowess, the excitement level briefly rising before they end on a unison rhythmic figure. It’s a very promising start and whets the listener’s appetite for what is to come.
Track three, ‘Jacaranda Tree’, is a slow and emotive 3/4 piece which is almost, but not quite, a ballad. Its plaintive aesthetic is achieved largely through the use of slow moving melodic phrases which are built on colourful harmonies, and evoke a sense of yearning. The theme is quite brief, and the introspective mood is maintained by placing the bass solo first. Here, Botting plays a thoughtful and well constructed improvisation which builds steadily and sets things up nicely for Blakey.
The pianist then delivers an eloquent and well paced solo which balances space and activity very well, ramping up in the second chorus after Firth moves to sticks and the rhythm section goes into a walking feel. This is maintained for Vinson’s outing, which is a typically colourful effort from the saxophonist.
Once completed, the band comes down to the initial dynamic for the recapitulation of the theme, and the performance ends on an unresolved chord. All in all, it’s classy music making.
‘Skyway’ is track four, and begins with a brief syncopated piano figure, the rhythm of which is central to the thematic section. It’s an endearing Latin piece which is a little melancholic in character, and features a chord progression that leans toward the contemporary side of things. The insistent rhythm of the piano during the theme drops away when Vinson starts the solos, and the accompaniment becomes quite open, allowing him much space to build his statement.
It’s a lovely, lyrical offering containing beautifully sculpted lines, some very fast passages, and is full of life. The band respond accordingly (particularly Firth), and the whole episode is a great example of what improvised jazz can be at its best.
Blakey’s solo follows, and he again creates a compelling statement which has a strong sense of development and plenty of energy. The theme is then repeated, and though it’s rendered with the same reserved dynamic as it was the first time, the last coda-like part is much more energised, and briefly evokes the spirit of the solo section before it subsequently quietens down and the tune comes to a close. It’s a particularly satisfying listen.
The title track is last, and interestingly, it’s performed as an intimate piano and sax duet. There is no information on the CD cover as to whether there’s any story behind the tune, but it’s beautiful and deeply heartfelt throughout. It starts with a poignant introduction from Blakey before Vinson enters, the saxophonist very much on board with the autumnal mood of the piece, and there’s much delicacy and space in the way both players navigate its contours. Melodically, there is a theme, and then surely what is an improvisation over the structure before what seems to be a largely improvised bridge section.
This apparent blurring of the lines between the written and the improvised is entirely in keeping with the overall aesthetic, as it makes it feel highly personal.
Wherever the lines may actually fall, it’s gorgeous playing from the altoist and his tone is highly emotive. A lovely piano improvisation follows, and like the rest of the piece, it’s essentially in free time, its pacing governed by the emotional undercurrent on which the tune rests. The theme is then restated, and with a couple of repeats of the last phrase, the piece gracefully comes to rest.
With his writing and choice of musicians, Blakey has produced an enjoyable and colourful album which very much embraces the spirit of creativity, and in the process gives us a glimpse into more of his own, diverse sound world.
