John Escreet

Matthieu Mazué Trio
We Stay Still
Jazzdor Series 14

Working to put their  individual stamp on the familiar piano trio are two pianists, one based in Los Angles and the other in Bern, Switzerland. While each offers a set of originals, tinged with advanced tropes and concepts, place of origin for each session may also account for intonation. Seismic Shift is under the leadership of British-born, California-based, John Escreet, who has played with everyone from Evan Parker to Amir ElSaffar. Joined by fellow contemporary Jazz veterans bassist Eric Revis and drummer Damion Reid, the pressurized, high-octane performances reflect the smoggy, car-oriented city, with a population of almost four million.

Trade that situation for the medieval  city of Bern, population less than134,000, and it’s probably no surprise that the compositions by French-born pianist Matthieu Mazué, who has worked with the likes of Michaël Attias, backed by Swiss musicians drummer Michael Cina and bassist Xaver Rüegg, evolve in part with a less frenetic feel. At the same time there’s enough variety and up and down movement to belie its title and sometimes suggest sonic resemblance to the Swiss mountains.

Energetic from the get-go, the Escreet disc starts off in high gear with “Study No. 1”,. With a double bass ostinato and rumbling thumps from the drummer the tune quickly moves from Bop-like to contrasting dynamics. With swirling keyboard clusters ascending and descending, Revis and Reid almost have to scramble to keep up to reach the pedal point ending. That sets the tone for the disc, with phrasing frequently repeated as the pianist shows off his two-handed keyboard command with sudden angular jumps and polling glissandi. Even when he explores the darker side of the keyboard with stuffed note cascades and at slightly slower tempos, hard pumps often creates tension without relief though logical conclusions reflect the introduction. In fact the title tune, which is based around key clipping and soundboard echoes, never loses its horizontal direction. Detours into balladic expression as on “Perpetual Love”, are created with a moderated double bass solo that joins piano comping so the tune moved forward but without much development. Elsewhere these moves from angular to Arcadian involve the bassist and drummer even more. “Digital Tulips”, for instance, depends on Reevis’ power stops to set up a groove intensified by Escreet’s player-piano-like triads. Meanwhile “Outward and Upward” is defined by cymbal clanging and snare rumbles from Reid and stretched string buzzes from Revis as Esreet’s dissonant keyboard clips gradually creates an andante line which cements the improvisation into thematic solidity. Other narratives are more dramatic or languid, but while the impetus from the pianist’s constant energetic playing continues to add excitement, there are points where it seems that he’s constructing a project with nail gun fuselage when a single well placed nail would hold the project together.

Mazué’s playing can be speedy and dynamic as well. But there’s a methodical and dramatic outline that he brings to each of the nine tracks that prevents overemphasis. This isn’t a one person show either. Most tracks are sutured together because of sympathetic string stress from Rüegg and Cina’s emphasized percussion breaks. One fine instance of this is “A Standing Black Shape”, the longest track. Unrolling at a relaxed pace it moves from a mid-range, focused piano introduction to a moderated and lento string pumping double bass solo that advances the piece without showiness. When Rüegg shifts the mood at mid-point with menacing plucks and plinks, the pianist picks up the crime-show-like allusions and with expressive pedal point moves the exposition downwards and back to the initial theme in a quieter fashion. Throughout the trio moves fluidly from straight-ahead swingers to those processed more slowly as they’re pieced together with chance interaction as each player’s part is vibrantly linked. An instance of the former is “Supply Chains”, with a broken-chord narrative built up with alternating sparkling glissandi and accentuated key clunks from Mazué that leads to a steady groove. Later the tine works its way back to the head with tough drum accents and a double bass thump. Other pieces such as “Au Plus Profond Des Steppes” are worked out in a meticulous fashion, with the pianist’s andante elaborations paced by drum smacks and completed by a largo bass string coda. However “Knocks”, the most distinctive composition, projects both aspects. Introduced by percussion ratamacues and drags and a waterfall of piano notes, a winnowing bass stroke halts the presto exposition for a long silent pause only to have basso piano rumbles and Rüegg’s squeaky arco swipes emphasize curbed dynamics so that the piece can be concluded with Cina’s rugged clips and rattles.

Each disc is a fine example of modern piano trio composition and improvisation. We Stay Still is actually filled with motion from a self-contained working group. Seismic Shift however appears to be unduly affected by Los Angeles’ aggressive traffic. Escreet and company certainly prove they can create whatever they want. But a tendency to throw everything into every song could lead to exhaustion. Loosening the unrelentless flow would have made for a more balanced session.

Track Listing: Seismic: 1. Study No. 1 2. Equipoise 3. Outward and Upward 4. RD 5. Perpetual Love 6. Digital Tulips 7. Seismic Shift 8.  Quick Reset 9. The Water Is Tasting Worse

Personnel: Seismic: John Escreet (piano); Eric Revis (bass) and Damion Reid (drums)

Track Listing: We: 1. White Fields 2. Au Plus Profond Des Steppes 3. Supply Chains 4. Sentiers 5. Dislocation 6. A Standing Black Shape 7. Knocks 8. Shells 9. Prototype Monolithe

Personnel: We: Matthieu Mazué (piano); Xaver Rüegg (bass) and Michael Cina (drums)