The works of art that move me the most combine and embody intelligence, warmth, playfulness, and love. Ken Peplowski’s new CD, ENRAPTURE (Capri Records 74141), is a shining example of what I mean.
Recorded slightly more than a year ago, this vivid and satisfying session is a portrait of a wonderful band — recorded as if at a gig but in splendid sound. The band is a balanced, energetic, communal organism: four individuals who listen to and support each other — Ken on clarinet and tenor; Ehud Asherie, piano; Martin Wind, string bass; Matt Wilson, drums.
And the principles behind this CD are so simple, yet often neglected in this era of “projects” and “themes”. I will let the writer of the elegant liner notes, Mr. Peplowski, explain: “[This CD is] my latest effort – a year or so of sifting through material, a year or so of playing with these great musicians, and very little time in the studio – we really wanted to approximate what we do in the clubs – this is us, in as close to a live setting as one could ask for in a recording environment – every song pretty much in one take – we weren’t going for a speed-recording record, we just like to capture the spontaneity and interplay of four people who enjoy making music together.”
If circumstances permitted there to be more working bands who could record sessions like this . . . but I digress.
Here’s a sonic sample — the title song of the session, composed by Herbie Nichols:
Even the casual listener will notice that this is a delightfully egalitarian melodic quartet: each player contributing an individual energy to the music, rather than a Star and a Rhythm Section. Each of these players is obviously a Star but the prevailing atmosphere is a friendly communality — humility and eagerness mixed as a loving offering to the Music.
And what Music! Although some “traditionalists” like to claim Peplowski as their own — after all, he’s recorded with tuba on the session — and then renounce him as a Dangerous Modernist, the truth is that he has a wide and delicious musical intelligence, one that embraces all kinds of music as long as it has a lively center. So on this CD there are songs by Harry Warren, Bernard Hermann, Barry Manilow, Noel Coward, Ellington, Fats Waller, Lennon, Leslie Bricusse, and Peter Erskine. There are touching ballads and ruminative introspections; there are quick, spiky ventures into apparently unknown territory; there is rollicking swing (as opposed to tributes to its fabled King — none of that here, please).
There is nothing self-conscious about the breadth of repertoire: it is a mark of an integrity that brushes away “styles and schools” in favor of deeply-felt but never pretentious creativity. And although Peplowski can play his horns with incredible speed, vehemence, and precision, his is a mature sensibility that does not seek to impress listeners with flash. Rather there is immense tenderness in his ballad playing, great intelligence and feeling throughout. I stand in awe of Ehud’s solo and ensemble playing, and have listened to several tracks on this disc just to hear what chords he plays behind everyone else (wow, as we say); Martin’s bass playing is always tuneful, warm, and propulsive (catch him on WILLOW TREE); Matt is a splendidly melodic percussionist in the great tradition, one that extends past the expectations of jazz performance. Together they are delicious.
If you want tangible reassurance that deep yet light-hearted beauty is being created and preserved in the name of Jazz (or Creative Improvised Music) as recently as last year, this is a CD to get — and savor and replay. I’ve taken this long to write this review because I didn’t want to take the disc out of the car player.
It’s available at all the usual places, but I urge listeners to do the ancient act of purchasing the actual CD because Ken’s liner notes are wise and to the point, rather like their writer.
May your happiness increase!