Koan continues along unconventional trails blazed by Sorey's Firehouse 12 debut, That/Not, but does not rehash successful formulae. On these six new compositions, rigor and open-form improvisation blend to create sound worlds of intense power and hauntingly spare beauty.
From 1998 to 2000, Sorey studied composition and ensemble playing with pianist/composer Michele Rosewoman. Her guidance helped to shape the way he now approaches his instrument and musical structure.. “I felt very comfortable playing her music, because she was composing using elements I was reaching for; she also encouraged me to use the entire drum kit as a means of keeping time, to take chances. She taught me both musicianship AND musicality.” Drummers Billy Hart and Kenny Washington also encouraged Sorey, providing feedback and criticism at a formative moment. On the classical front, he studied with composer/performers John Link and Anton Vishio at William Patterson University, and his interaction with them furthered his immersion in the music of Arnold Schönberg, John Cage, Karlheinz Stockhausen and Morton Feldman, with whose work Sorey feels a deep connection. And at that time, he was digging into the music of Charles Mingus and Wayne Shorter, as well as elements of nature, Zen, and musics from other cultures.
His associations with pianist and composer Vijay Iyer, first documented on Blood Sutra, would lead to his participation in the stellar trio Fieldwork, and open the door for his debut as a leader, That/Not. The music on Koan demonstrates huge advances in Sorey’s compositional thinking and execution. “I abandoned all systems on this record,” states Sorey. “Some of my earlier compositions used dodecaphonic methods and principles, but while I did select some of the pitch material for this release, there are no specific systems guiding form and structure.” Yet, the Feldman-esque minimalist approach he has explored dominates these new trio recordings, both in terms of construction and playing style. There is a sense of restraint throughout, but that does not mean energy is lacking. On the contrary, each tune, each note, is suffused with meaning and purpose to the point that sounds leap from the speakers, but there is often silence left to reflect on each gesture. Even the most traditional track, “Embed,” eschews conventional time and rhythm while its gorgeous harmonic progression glides along. Todd Neufeld’s masterly playing brings life to the chords as they unfold over Thomas Morgan’s strident but circumspect bass tones. Conversely, there are the staggering rhythmic complexities of “Awakening,” one of several tracks based on the use of layered rhythmic cycles. When asked about how one should hear the piece, Sorey says “the tune’s mostly written in 4/4 time, but it's not really in any time - depending on how you hear it;” the listener would never know it as each musician follows a path of cycles that converge at key moments, creating slowly morphing tapestries of timbre and harmony. Equally fascinating is the track "Only One Sky", composed during the post-production stages. “The material came from an outtake of the introduction to 'Embed',” explains Sorey. “After having listened to it repeatedly, I grew to see it as an indispensable part of the album’s macrostructure.”
While it exudes an air of gentleness, this is not music for the faint of heart. It is also not to be absorbed in one sitting. Each listening exposes fresh details, both musical and timbral, and these lead to new appreciation of the larger canvases on which these sound paintings reside. |
