The title of composer and guitarist
Joel Harrison's
Infinite Possibility is an apt one. On the one level, in his first exercise writing for an unconventional jazz big band -- this one includes French horn, English horn, vibraphone, and marimba -- the tonal, textural, and harmonic options are almost endless. On the other, when presented with such a bounty, making the right choices can be intimidating or frustrating. This six-part suite, conducted by
JC Sanford, makes use of numerous American musical forms, though they all end up as jazz. "As We Gather All Around Her," with vocals by
Everett Bradley, comes from an Appalachian hymn
Harrison heard
the Stanley Brothers play. It uses country gospel as a way of creating a foundation for various tonal palettes to develop by brass and woodwinds; the interplay is specific and bright before it scales itself back. Along the way there are terrific solos by saxophonist
Donny McCaslin and pianist
Daniel Kelly. "Dockery Farms" commences with a sparse frame, very deliberate in its use of gospel and blues motifs. Before long, however, by way of
Harrison using electric slide guitar, it begins to wail, stomping as his six-string goes right at the choppy vamp-driven horns. Another high point in the track is the conversation by muted brass instruments and
Curtis Fowlkes' trombone solo. The freight train of dissonance and dynamic in "The Overwhelming Infinity of Possibility" illustrates precisely the numerous directions
Harrison allowed his muse to direct him, through blues, 20th century classical music, and
Miles Davis from
Gil Evans through his second quintet through
Bitches Brew. If this reads like it doesn't or shouldn't work, fine -- but it does marvelously, and is the most compelling track here; the dialogue between brass and woodwind sections is knotty, defiant, quizzical, and bold. While "Highway" doesn't exactly swing after its tender opening section, it implies it through its use of the blues idiom. In its quieter moments the extrapolation harmonies between
Harrison and the horns are elegant, beautiful. The cut also features fine solos by trombonist
Alan Ferber and saxophonist
Rob Scheps. Closer "Blue Lake Morning" with its four distinct phases -- and a moving solo by
McCaslin -- is breathtaking in its range of musical diversity.
Infinite Possibility may a personal milestone for
Harrison -- an ambition realized. But for jazz listeners, it is a stellar exercise in musical imagination and vision. ~ Thom Jurek
![Space Is the Place [Original Motion Picture Soundtrack] [Deluxe Edition]](http://prodimage.images-bn.com/pimages/0090771826725_p0_v1_s90x140.jpg "Space Is the Place [Original Motion Picture Soundtrack] [Deluxe Edition]")