Influential Bassist John Patitucci Leads An Inspired Saxophone Trio (Chris Potter, Brian Blade) On Two LP ‘Spirit Fall’ (ALBUM REVIEW)

For over four decades now, bassist John Patitucci has proved his mettle with some of the most iconic artists in the history of jazz.   “Spirit Fall,” harkens to the classic saxophone trios of the late ‘50s and ‘60s featuring Sonny Rollins, John Coltrane, and Joe Henderson. That’s not to say there have not been countless saxophone trio albums since but when considering his bandmates, drummer Brian Blade, and saxophonist Chris Potter, with the leader, three of the best of their generation, it’s not a big stretch to include this in that conversation. Patitucci and Blade were members in The Wayne Shorter Quartet, and Patitucci and Blade served as the bass-drum tandem for Potter’s 2024 stellar Eagle’s Point. Like that one, this too appears on UK’s Edition Records.  . Patitucci plays both the acoustic upright and a custom six-string electric bass, which he operates both linearly and to deliver a chordal element. Potter wields tenor and soprano saxophones as well as bass clarinet. 

”What links these intricate melodies and dynamic rhythms is the spirited, inspired playing from these three individuals. They are clearly at the top of their respective games. Patitucci lays down a sturdy groove in opener “Think Fast,” unleashing fierce bursts from Potter’s tenor as Blade stirs it up on the kit. The leader steps in with an authoritative statement and Potter powers on in lightning speed on his horn, passing the baton to a kinetic Blade before resuming in fiery fashion. “Pole Star” takes it down a notch with Potter again on tenor blowing longer, emotive lines over an intricate rhythm pattern that allows for each trio member to state his case, Patitucci’s sense of lyricism reflected in his definitive solo as the trio gathers more momentum after that point. These two pieces in effect serve as prelude to the standout “Deluge on 7^th Ave.,” which captures a memorable week performing at The Village Vanguard amidst heavy rains. Patitucci sets the pace for Potter’s melodic tenor, which, metaphorically like the rain, grows increasingly intense through his rapid fire liquid clusters. Patitucci and Blade then engage in a feisty exchange that keeps both the melody and groove intact for Potter’s expressive reprise.

As the title suggests, “Thoughts and Dreams” reflects the more delicate side of the trio, as they move unhurriedly through this pensive piece with Potter on tenor and Blade serving up tasty brushwork with the electric bass slightly altering the timbre. This contemplative mood segues nicely to the title track with Potter alternating gorgeous lines on soprano with highly impassioned ones, as the bassist gives his electric 6-string a workout. “Lipim” has Potter back on tenor, blowing elongated lines over the funky rhythm pattern established by the bass-drum tandem. Like several of these pieces, rushes of forward movement intertwine with more lyrical passages as the piece keeps shifting, Blade being especially impressive and Potter somehow delivering counterpoints and tandems within his command of the melody.

“Silent Prayer” has Blade and Patitucci in subtle posture behind Potter’s lyrical meditation on tenor but this calm morphs nds to declamatory blues as Blade beats hard and Patitucci weaves in his electric bass, a furious crescendo that melts to a quiet exit. They nod to Wayne Shorter and to Joe Henderson who played on Shorter’s 1965 Blue Note JuJu. Patittuci authors perhaps his most gripping solo here. “Light in the Darkness “ is a brief, ruminative piece with Potter glowing on bass clarinet. Closer “Sonrisa” is uplifting, almost as if we can envision an African dance, with Potter in gleeful flight over the percolating rhythms.

These three musicians are consistently brilliant in any setting but clearly have special chemistry here. Yet, among all the terrific outings from Potter, this is a tour-de-force for him. Trio jazz and contemporary jazz for that matter, don’t get any better.

.