Nate Smith is one of those modern drummers, on the scene, making music that speaks to the present while still having a foundation in the
past. His drums have been the backbone of groups led by bassist Dave Holland
and saxophonist Chris Potter. The two journeymen play it back here with
appearances on three of the albums twelve compositions.
On Smith’s latest Kinfolk
Postcards from Everywhere we get the best of both
worlds. A hip, contemporary compilation of music that has sophistication and
creativity for the most demanding, while maintaining a connection to groove and
melody that will grab even the most nonchalant listener. The core group is made up of Smith on drums,
synth sounds and Fender Rhodes and providing most of the cd’s compositions-
either solo or in collaboration; Kris Bowers is the principal pianist and
Rhodes player, Fima Ephron is on electric bass, Jeremy Most on guitars and
Jaleel Shaw on alto and soprano saxophones.
The music undulates freely between compositions, with
Smith’s drums being singularly unifying element. For the most part it is gentle
easy listening music that entertains you without creating a lot of tension and
bombast. But for the careful listener there is a wealth of nuance that is
joyful to the ear and up lifting to the spirit.
“Bounce Parts 1” starts off with a funky beat that folds into a complex dual horn line with guest Chris Potter on tenor and Jaleel Shaw on alto. Guitarist Jeremy Most lays on some funky licks to the mix and Ephron’s bass is elastic but firmly grounded. “Bounce Part II” changes to an airy cosmic groove that offers the ebullient tenor man Potter some room to expand one’s consciousness, and he does so with an earnest solo that elevates impressively.
As this is an album about a traveling musician and his
recollections on the road, Smith often finds himself nostalgically thinking
about home and loved ones while on tour. He interjects sound bites of
conversations with his mother and his father on the two sections “Mom: Postcards
from Detroit/ Floyd/Salem” and “Dad: Postcards from Isaac Street.” The album is
touchingly dedicated to the memory of Smith’s father Dr. Theodore R. “Mike”
Smith.
The lyrical “Retold” is a repeated theme to which Smith has added
some rich, choir-like vocal overlays by Michael Mayo. Kris Bowers adds a
strikingly sensitive piano solo. All the while orchestrator Smith adds rhythmic
variety and percussive touches that bring this one skillfully together.
On “Disenchantment: The Weight,” Smith and company
introduces a lush Bowers string arrangement to the enchanting voice of Amma
Whatt. Ephron’s tactile bass lines and Smith military cadenced drum rolls
create the sturdy backbeat of this composition until the shimmering end. Whatt
is also heard on “Morning and Allison,” a new voice to me, she shows great
promise.
A probing Dave Holland bass line starts off “Spinning Down.”
One by one the instruments enter, with Loueke’s
guitar delicately making an appearance as Bowers plays hushed chords in faded
background. Shaw’s wispy soprano enters for
another layer of color and Bowers once again gets a chance to show his
pianistic prowess. About three quarters
through guitarist Loueke offers a synth-like solo that is inspired. Ephron and
Smith have a kinetic connection that is supple but always tightly aligned.
Nate Smith |
“Spiracles” features the guitar work of the talented Adam Rodgers and has
Bowers using a vibraphone like sound from his keyboards. Smith utilizes a
shuffling, agonizingly slow beat while Shaw and Bowers play an undulating
melody line. With the pace of this one, Rodgers solo is the epitome of understatement.
The final song titled “Home Free” (for Peter Joe,) is a
ballad. From its poignant string introduction, this song carries a special
meaning for Smith. The drummer employs a string quartet that he has arranged as
the band plays this with almost dirge-like solemnity. Shaw’s alto has a
delicate air and Bowers’ piano is a deeply reverent. It is apparent from this
heartfelt music that for Smith home is where the heart is.
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