Redefining Element 78 is composer/pianist/arranger
Rebecca Nash's sophomore date for
Whirlwind Recordings. The first, 2019's
The Peaceful King, wed modern jazz and classical to electronica, outre pop, and spiritual soul while evoking a rich harmonic language that bridged musical traditions from the 19th, 20th, and 21st centuries.
Redefining Element 78 is a conceptual suite commissioned by the Bristol Jazz Festival. Its eight pieces are inspired by "the confluence of sound and science" around precious metals.
Nash was also influenced by American alto saxophonist
John O'Gallagher's book, Twelve-Tone Improvisation: A Method for Using Tone Rows in Jazz. She asked
O'Gallagher to play with her band
Atlas -- guitarist
Jamie Leeming, drummer
Matt Fisher, trumpeter
Nick Malcolm, bassist
Paul Michael, and electronicists
Chris Mapp and
Nick Walters -- on these sessions.
"Platinum I" introduces the suite as an overture in miniature. Just three minutes long, it states the work's central theme -- that recurs differently in each track -- led by reeds and winds as piano adds harmonic foundation and dynamic ballast while
Leeming's guitar and constantly rolling drums color the backdrop.
Malcolm's open, improvised trumpet solo introduces "Osmium," the set's longest entry. Its tonal and timbral economy is gorgeously illustrated by
Nash's canny piano solo and an airy, exotically textured guitar break.
Leeming plays the central role in the groove-drenched "Rhodium," going head-to-head in counterpoint with
Michael and
Fisher, whose breaks add spiky funk.
Nash enters the theme at the halfway mark, signaling lift-off.
O'Gallagher offers a labyrinthine solo above piano and hovering electronics. "Iridum II" is an impressionistic statement of theme and extrapolation from
Nash, which she embellishes with intuitive improvisation caressed by ambient electronics. "Ruthenium" commences with a delicate piano intro, rife with classical harmonies. Bass and cymbals enter two minutes in as
Nash begins syncopating the rhythm and expanding the harmonic palette.
O'Gallagher's alto transforms it into an exploratory exercise with musical glue from piano and trumpet.
O'Gallagher transmits an emotional 90 seconds opening "Iridium I" with various timbral iterations of the theme. He is joined first by guitar, then bass and drums, then trumpet.
Nash arrives halfway through investigating texture and space intimately. "Platinum II" is introduced by electronically treated piano during its first half, then horns and drums burrow in extending the reach toward post-bop with excellent solos from
Malcolm (whose tone here recalls
Kenny Wheeler) and
O'Gallagher. "Palladium - Noble Heart" is gorgeously plotted.
Nash's circular, pillowy rendition of the central theme is elegantly framed by guitar, tom-toms, subtle electronics, and eventually emotional horn in one of the most expressive solos of his career. The tune's processional pace and pastoral presentation serve to simultaneously open tonal and harmonic fields while also offering its mantra-like thematic statement for the listener to inhabit.
Redefining Element 78 goes further than its fine predecessor. It is at once complex and welcoming. It renders complex musical ideas with abundant creativity and as much emotional heft as musical sophistication. ~ Thom Jurek
