The Poland-based Marcin Wasilewski Trio has been playing together since their high school days and the current lineup has been in place since 1993, a remarkable achievement for any jazz unit. Suffice it to say, we know their sound well through their five ECM recordings and their appearances on other ECM albums. Wasilewski speaks for most of us most probably when he says this about the opening track “Glimmer of Hope” – “I was very curious to hear how it would sound with Joe’s tone.” That phrase is telling for the entire album, Arctic Riff. Not only does Joe Lovano bring robust, practically unmatched tone to that piece, but as we’ve learned from Lovano’s own ECM recordings and others as a leader, he brings inventiveness and his free jazz style of playing when called for as well.
The trio is led by pianist Marcin Wasilewski with drummer Michal Miskiewicz and bassist Slawomir Kurkiewicz. Theirs, especially with Lovano aboard, is music of deep feeling, highly concentrated, sometimes composed but often loosely improvised, sprinkled with lyricism, quiet strength, and a serious, contemplative, but beautiful vibe that runs throughout the album. The trio plays tunes by Wasilewski and by Lovano, as well as Carla Bley’s classic “Vashkar,” plus collective improvisations with strong input from all four players. Produced by ECM’s main man, Manfred Eicher, Arctic Riff was recorded in southern France in August 2019.
The opening Wasilewski rubato ballad “Glimmer of Hope” which, the composer explains, is “based mainly on one motive moving through some tonalities.” The piano gently prepares for the saxophone’s entry, and Lovano’s very first phrase – underpinned by Michal Miskiewicz’s soulful brushwork – establishes the sensitive atmosphere of intense listening that characterizes the session. Carla Bley’s “Vashkar” follows, a tune interpreted by many that Wasilewski first heard it on the album Footloose by the Paul Bley Trio with Steve Swallow and Pete LaRoca.” Lovano authoritatively establishes the melody before the Polish trio begin to move it different directions. The tenorist had performed Carla Bley’s music as a member of her band in 1983 and, in 1986, with Charlie Haden’s Liberation Music Orchestra, but the present recording marks his first time recording “Vashkar.” The beauty of the piece owes just as much to Wasilewki’s delicate piano work and the sensitive support of his rhythm mates.
“Cadenza” is the first, and at nine minutes the longest, of the in-the-moment improvised pieces, with Wasilewski adding, “…There was no preconceived plan at all for the improvised pieces, but just as we were concluding a musical statement together on ‘Cadenza,’ I had the feeling that it might be good to take it a little further. In that second, I heard Manfred saying through the headphones, ‘Marcin, please continue.’ That was a special moment, and helped to make the whole thing, spontaneously, a better piece of art.” All four members make their own unfettered statements here. While this is a comfort zone for Lovano, Miskiewicz and Kurkiewicz are especially effective in a subtle way.
Wasilewski’s elegant ballad “Fading Sorrow” has Kurkiewicz soloing against Wasilewski’s understated chording and discreet drums. Kurkiewicz also takes the lead in the free piece “Arco” which, as its title implies, takes off from his bowed bass entry. “Free improvisation is a very rewarding experience based on mutual trust and openness,” says Kurkiewicz. “As a working trio we’ve played freely many times and It was so touching to see Joe jumping right in there with such directness and clarity. It is great to hear his voice in such a context.” That Lovano could do that and embrace it is not at all surprising as he is one of the most versatile jazz musicians playing today on any instrument, comfortable in traditional, modern and experimental modes. Like those in the trio, he appreciates the value of space, which strengthens both “Arco” and “Cadenza.”
Lovano’s “Stray Cat Walk” is a clever short tenor statement clocking in at less than three minutes with a rhythmic flow that engages Kurkiewicz and Miskiewicz while the pianist lays out. Wasileski’ designed “L’amour fou” to showcase Lovano’s up tempo skills; the working title was “Crazy for Lovo.” And, unlike the others, it has plenty of swing. The pianist dazzles here, after which Lovano soars, spurred on by the animated rhythm section, including an economical Miskiewicz solo.
The free form “A Glimpse” serves as an interlude of sorts to the second variation of “Vashkar” that gives more solo space to Lovano. The tenorist wrote, “On the Other Side” for the session. And, rather than describe the free-flowing piece which serves as a contrast to Wasileski’s compositions, Lovano has already done so with these words – “The drums set up the theme which is a question-and-answer exchange between the tenor and drums and the piano trio. A piano and drums duo follows, then adding bass into a trio moment without piano. Piano then re-enters, leading to the final theme with embellishments. The outcome was just what I was hoping for.” They close with Wasilewski’s “Old Hat,” a moving ballad in a classic jazz style, with tender solos from both Wasilewski and Lovano, its title referencing both the nostalgic flair of the piece and Joe’s penchant for vintage headgear (especially pork pie hats).
The trio seems emboldened by Lovano’s strong presence and their support helps to showcase his numerous strengths while they find enough space and spontaneity in this mix of the conventional and free, to express individuality as well. It’s a superlative session.
