Harris Eisenstadt's September Trio

September Trio
The Destructive Element (Clean Feed; 2013)
Harris Eisenstadt (drums)
Angelica Sanchez (piano)
Ellery Eskelin (sax)

Two years ago, I was floored by the self-titled debut session from this trio of New Yorkers, September Trio. Now with their follow up, The Destructive Element, I can say I'm not surprised by their brilliance. It's just the way they are.

The movement on The Destructive Element is more fluid and with well balanced song structure. "Swimming" is a beautiful midtempo love letter filled with solid, almost gospel influenced chords from Sanchez. While Eskelin's romantic but muscular tone feels like Sonny Rollins hovering over the session.

Eisenstadt always seems to write the pieces with his band member's freedom in mind. On "Back and Forth," and "The Destructive Element" he gives Sanchez's classical ideas the floor. And Eskelin layers a solid structure on top. Eisenstadt's brushes provide the subtle hues for a lovely, all-around experience.

Eisenstadt does allow the session to be ballad or bop driven. The trio embarks on improvisation through "Additives" and "Here Are The Samurai." Both have rolling melodies from Sanchez and crashing movements of Eisenstadt's adventurous spirit on the kit. Free-spirited yet providing structure all the way.

The Destructive Element is more developed than it's predecessor but also slightly different. Still keeping an introspective vibe but also providing more opportunities for its members to expand on their own. Harris Eisenstadt has become an excellent composer in various settings. For me, September Trio is one of his best.

Francois Houle: Genera

Francois Houle (clarinet)

Genera (Songlines Recordings; 2012)

Samuel Blaser (trombone)

Harris Eisenstadt (drums)

Taylor Ho Bynum (cornet)

Michael Bates (bass)

Benoit Delbecq (piano)

Genera is a bit of a return to the modern focus of Francois Houle's earlier '00s outings with his group +5. A group that consist of revolving musicians (including frequent collaborator Benoit Delbecq). While maintaining a clear jazz focus, Houle has deployed his usual adventure with improvised themes throughout this session.

"Essay #7" rips and rattles along with a sense of urgency and jubilation. Eisenstadt and Bates secure a pounding pace, as the horns improvise all over the scale. All this is lightly tempered by Delbecq's versatile style at the keys.

With "Guanara," Houle allows the sextet a whole lot of room to expand. Houle's tone is light, yet with multiple layers of complex changes. Conversations between Delbecq, Eisenstadt and Bates dart and jag across your senses quickly but with a real sense of grace. Houle, Bynum and Blaser return towards the end for rousing conclusion.

"Albatross" is that dark improvised piece that moves slowly with Bynum in excellent form. The horn section are the real stars on this piece, with all three men really screaming in delicate unison. Sounds contradictory but you really have to hear to understand the beauty.

On "Sulfur Dude," Houle's composition makes this sextet sound almost like a large ensemble. It starts from a very organic place and each musician adds other rhythmic element on top of lines. This in turn creates a harmonic structure that is striking as well enchanting. For me it's my favourite piece on Genera.

A return to more organic themes is the best way to describe Genera. And Francois Houle has shown once again his versatility as a composer, leader and musician. Genera is a departure from the more recent ambient/avant classical chamber material of his last outings. But its a value addition in understanding the artist. Highly Recommended.

Harris Eisenstadt: September Trio

Harris Eisenstadt (drums)

September Trio (Clean Feed; 2011)

Angelica Sanchez (piano)

Ellery Eskelin (sax)

What's the word for "wow!" in every language? Well that's what I have to say about Harris Eisenstadt's latest release, September Trio (Clean Feed). The Canadian born Brooklyn transplant has delivered his second record for 2011 and its even more striking than Canada Day II. This time, as a trio under the aforementioned title. 

Opening with the repetitive, melodic blues of "September 1," Eisenstadt sets the tone that this is a much different outing than Canada Day. "September 1" has you focused on the trio's interactions and the complex and free flowing nature of Eisenstadt's compositions. It's improvised but held within a tight dynamic. This may not have been achievable in any other setting than a trio.

Eskelin has a muscular tone in his phrasing which reminds me of of Ornette Coleman, while Sanchez continues to show why she deserves much wider recognition. Her agile, rhythmic yet contemplative performance has really started me to put her on the same level as Kris Davis, John Escreet, Jason Moran, Sylvie Courvoisier and Irene Schweizer. A real creative at the piano.  But the real focus is Eisenstadt's compositional work.

On September Trio he has allowed his fellow musicians the freedom to move in various directions and in addition, his own timing and melodic touches are exquisite and thoughtful. There is a moment about 2/3's of the way into "September 1" where Eskelin and Eisenstadt share some raw improvised exchanges but it will be the soft tones of Eisenstadt's brushes that you may focus in on as they are placed just under the melody. Beautiful.

"September 3," Eisenstadt allows Sanchez and Eskelin to paint a wonderful picture in cascading hues and a well placed use of space. The piece is superbly written and has moments "harmolodics" throughout. Eisenstadt remains settled into the background with steady timing until midway through when the trio begin to interweave and almost become one note of improvisation.

"September 6" starts of with a rich and bellowing solo period from Eskelin and then slowly turns into a haunting blues filled with counterpoints and lots stellar exchanges between the musicians. "September 6" while moving in various directions still displays as sense of order and investigation. The final three minute passage is spectacular as it rises in tone and then quietly descends into black.

Harris Eisenstadt has already established himself as one of most sought after drummers in the jazz community but its his writing that's really becoming more significant. The ability to write material with such breath while allowing your fellow musicians a majority of the spotlight yet still producing some excellent moments of your own, is well, nothing short of phenomenal. September Trio should be the album that finally sets Harris Eisenstadt apart from many of his peers, as a performer and a writer. Album of the year material for sure. Highly Recommended and Unexpectedly Beautiful.