Pianist/composer Taylor Eigsti's Lush and Challenging Musical Suite: "Plot Armor"

Taylor Eigsti: Plot Armor: GroundUP Music

The pianist/composer Taylor Eigsti released his latest album Plot Armor on March 1, 2024, and it promises to give the reflective listener a lot of good music to listen to and savor. Eigsti is a thirty-nine-year-old product of the San Francisco Bay Area. Considered a prodigy, Eigsti has been studying piano from the age of four. Despite having a brief stint of formal education at Southern California's Thorton School of Music, Eigsti's plunge into pursuing his professional musical career has proven to be an example of where learning by doing with the right people can still be incredibly fruitful. Quickly establishing himself as a New York-based pianist, Eigsti has been prolific and has released seven albums as a leader and over fifty albums as a sideman. He contributed a composition to the Donald Cheadle Grammy Winning Soundtrack for the film "Miles Ahead" and in 2022 his album Tree Falls won the Grammy for Best Contemporary Instrumental Album. In the world of jazz, his pianistic talents have been part of Terrence Blanchard's E-Collective, Kendrick Scott's Oracle, Eric Harland's Voyage, and groups led by Gretchen Parlato and Chris Botti. Eigsti, a versatile talent, has performed composed and orchestrated music in the classical, chamber music, and vocal/orchestral worlds as well, working with the New York Philharmonic, San Jose Chamber Orchestra, and the Chicago Symphony to name just a few. 

Taylor Eigsti's pianistic style is surely influenced by the jazz tradition, but he has absorbed the experiences of playing in so many diverse scenarios-classical, comping for vocalists, Chamber settings, jazz combinations, film scoring- that his music is a creative amalgamation of these multiple approaches to sound creativity. Within the execution of his own improvisational excursions, he never fails to tell the listener a story. He is gifted with remarkable facility and a sense of creative harmonic imagination.

Eigsti's Plot Armor released on Ground UP Music, utilizes a diverse choice of bandmates to tell his challenging musical story. The album features twelve titles, all but one, Rodgers and Hart's "Bewitched Bothered and Bewildered," are Eigsti's original compositions. 

The title Plot Armor is a reference used in literature where a character can experience and survive an almost unbelievable barrage of attempts at being foiled by injury, deception, or death but yet survives against all odds because the character is so essential to the story. James Bond, Ian Fleming's fictional counterintelligence agent who seemingly dismisses all attempts to be stopped, is an example of a character who possesses Plot Armor. Now, let us juxtapose a daring and exploratory musician like Taylor Eigsti. The path to creating inventive music, music that avoids the well-worn trails of rehashing what has come before it, might be likewise daring, full of trials, danger, and tribulations, and for what purpose?. By arming himself with his imagination, his own formidable talent, and a mind-whirling cadre of superb and like-minded musicians, might not Eighsti just achieve his own Plot Armor here and if doing so find his purpose? If so, with this release, he has certainly produced a piece of work worth paying attention to.

The album is in some respects a continuation of his previously released Tree Falls, this time with more players and greater detailed orchestration. Eigsti's experiment with the concept of using two parallel bands follows in the steps of others like Ornette Coleman's Double Quartet, although unlike Coleman he doesn't use double instrumentation on any one composition within the album. His enlarged tapestry of colors includes two saxophonists Ben Wendel and Dayna Stephens; two guitarists Charlie Altura and Julian Lage; two bassists Harish Raghavan and David DJ Ginyard, two drummers Kendrick Scott and Oscar Seaton, Jr. three vocalists Lisa Fischer, Gretchen Parlatto and Becca Stevens, flutist Rebecca Kleinmann, keyboardist Maya Kronfeld, the trumpeter/composer Terence Blanchard and a splendid string section made up of Stephanie Yu, Corinne Sobolewski, Mia Barcia-Colombo and Jules Levy. The album is a lush and challenging production that took seventy days to record and mix. The result is impressive.

Taylor Eigsti (photo credit unknown)

The opening "Let You Bee" features Altura's repeating fingerpicking entry and a driving tight drum line laid down by I suspect Kendrick Scott. Eighsti skillfully weaves the swelling string section into his kinetic piano work, Altura's ethereal and almost relentless electric guitar lines soar, and some synth keyboard accents by Kronfeld add to the mix. The orchestration erupts with an organic pulse, a hive-like hum inspired by a relentless Bee that wouldn't leave the composer alone one day, and he gives the listener a taste of what it sounds like when nature is mimicked by art.

Like many of his compositions, Eigsti's "Buckets of F's" has another tongue-in-cheek title. He says it represents the celebration of chaos and challenges which may lead to the "Fs"( frustrations)?  This one is carried by a syncopated line that drives the music with an almost frenzied pace. Precisely and synchronously played piano, keys, guitar, sax, bass, viola, and drums trace each other's lines with frantic accuracy. The music extends into a complex ascending line that opens into a joyous bridge that features Ben Wendel's blaring saxophone, some viola work by Benjamin von Gutzeit, and is accentuated by the string section and some delightful flute lines by Kleinmann. Eighsti's piano flows with inspirational verve, excitement, and beauty. Wendel's solo is a powerhouse of inspiration intertwining with Eighsti's relentless piano over a drum-driven fade to the coda.

"Look Around You" is a haunting ballad that was adapted from Eigsti's "Imagine Our Future" which premiered back in 2022. It adds a distinctively folk/jazz quality to the set. It features Becca Steven's expressive voice, what is probably  Dayna Stephens' on tenor, Eigsti's gorgeous piano, and airy flute work by Kleinmann. 

The title track "Plot Armor" opens with a bass line by David Ginyard and has a cinematic feel to it with some layered sounds of the Andrew Balogh arranged string section, Maya Kornfeld's keyboard support work, drums by Oscar Seaton Jr., and probing guitar stream by Charlie Altura, along with a neo-classical-inspired piano work by Eigsti that just explodes with life. There is a dense but subtle richness to this music. The drum line changes time and Kleinmann's flute floats in the air as the music reaches its apex and the Seaton's drum work punctuates the trip.

"Light Dream" is a slow, eloquent meditation that honors Wayne Shorter who passed in March of 2022. It opens with Eigsti's expressive piano and Blanchard's plaintive trumpet sound. A musical ode to contemplation and clarity. Inspiration the pianist received from Shorter's approach to music.

The blue-tinged ballad "Fire Within" has lyrics that were taken from words  penned by Eigsti 's mother Nancy, who passed away two weeks before the album was set to be recorded. Vocalist Lisa Fischer lends her talents to bring this strong performance to life with her soulful grit. Guitarist Julian Lage adds his own distinctive string magic to the take.  

"The Rumor" is a two-minute musical miniature that opens with a moving string section entre, some moving violin work, and Eigsti's lush piano. 

This orchestrated suite continues with "Actually." Eigsti has a wide palette on which to express his expanding musical concepts. His arrangements are expansive and incorporate changing rhythmic time signatures, multiple tonal accents, and lush musical harmonies. It's often like listening to a cinematic concept made into an aural representation.

The album continues with "Beyond the Blues" which includes Gretchen Parlato's fetching voice and lyrics. The composition was conceived by Eigsti as another honor to his recently departed mother's memory. 

"201918" is a subtle and beautiful exploration with Eigsti's piano, Maya Kronfeld's Keyboard, and his bassist David Ginyard and drummer Oscar Seaton Jr.

Eigsti has often explored the Rogers and Hart classic "Bewitched, Bothered and Bewildered" and so here he orchestrates the music including Charles Altura's guitar, Ben Wendel's tenor, and his rhythm section of Ginyard and Seaton Jr.  Eigsti considers it a breakup song and as he explores the melody he brings it to a apex where the lover's confusion related in the lyrics of the song can be resolved and the confusion left behind. 

The U.S. version of the album ends with the cut "Bad Sport Lobby" where the music starts out with a piano and bass on fast paced jaunt that merges into a frenetic Rhodes-led section. The song ends with two or three different codas and some eruptions of joy and relief by musicians at the finale.

A bonus cut was included on the Japanese edition of the release, with Eigsti on piano and some soulful saxophone. It is another dedication to Eigsti's mother on a sensitive take of one of her favorite songs "Nancy with the Smiling Face" and a fitting end of this wonderful album. 

 

The Biamp PDX Portland Jazz Festival: Sullivan Fortner Trio, Dianne Reeves & Band and John Patitucci Brazilian Trio

Yotam Silberstein, John Patitucci and Rogerio Bocacato at the Old Church

The Biamp PDX Portland Jazz Festival brought an amazing gathering of some of jazz music's most talented, diversified, and celebrated lineups to Portland this year. The festival ran from February 16 through March 2, 2024, and included a variety of venues -The Jack London Revue, The Old Church, Revolution Hall, Arlene Schnitzer Concert Hall, Alberta Street Pub, Newmark Theater, and the Roseland Theater [place a myriad of smaller locations to name just a few. True jazz fans should tip their collective hats to the producers of this year's festival. This year truly met and exceeded all reasonable expectations for supporters of this marvelous music. 

The festival included esteemed headliners-pianist Jon Baptiste, guitar master Julian Lage, trumpeter Nicholas Payton, modernist guitarist Mary Halvorson with drummer Tomas Fujiwara, piano master Bob James with guitar wizard Lee Ritenour, and some fine local artists that include guitarist Ryan Meagher and Dan Balmer, drummer legend Mel Brown and saxophonist Nicole Glover plus too many others to mention. Check the total lineup here. Suffice it to say, if there was music that you favored in this ever-accepting genre there was something to please almost any taste.

As a fan, it was a plethora of almost too many riches. The offerings were scheduled over a relatively short period, and the weather didn't always cooperate. I was lucky enough to pick and choose my events (with some help from a friend) and attended three superb events.

Sullivan Fortner and Tyronne Allen at the Old Church

The Sullivan Fortner Trio at Old Church:  February 27, 2024

I have been a fan of the pianist Sullivan Fortner for quite some time. He was born in New Orleans and started piano at the age of four. Blessed with perfect pitch, Fortner rapidly advanced with his keyboard skills. At age seven he began playing organ publically in his mother's Baptist Church. Gospel music made a permanent impression on the young man. Fortner went on to study music at Oberlin Conservatory in Ohio and later received his master's degree from the Manhattan School of Music. The musician made his bones as a sideman with the likes of vibraphonist Stefon Harris and trumpeter Roy Hargrove. In 2011 Fortner came under the influence of the pianist master Barry Harris. He has been tapped as an astute accompanist for vocalists like Lauren Henderson and the recent sensation Samara Joy. He is most celebrated for his collaboration with the amazing vocal chanteuse Celine McLorin Salvant. He has received numerous awards including the prestigious  Lincoln Center Emerging Artist Award in 2016.

By now, the thirty-seven-year-old pianist has become a revered master of his instrument being one of his generation's most promising artists. I named his recent 2023 release

Solo Game as one of my Notes on Jazz Best of Jazz for 2023. I was most interested in seeing this impressive artist play live and in the moment. His February 27th concert at downtown Portland's intimate Old Church was the perfect venue to see him perform his magic up front and personally. 

Fortner casts a short, sturdy, but graceful presence at his piano bench. He is soft-spoken and when he does speak, there is an unassuming confidence in his voice, a voice that also projects a wry sense of humor and a deep sense of joy about what he does. Fortner was joined by his working band of Tyrone Allen on upright bass and Kayvon Gordon on drums. There is an immediate sense of connection between these three. A connection of respect and of the kind of familiarity that is built slowly from being exposed to many hours of woodshedding together, honing their skills as a unit, and creating that level of simpatico that usually only is seen in working bands. 

The Maryland-born Tyrone Jackson studied upright and classical bass at the Eastman School of Music in Rochester and later attended Berklee in Boston where he was mentored by local giants like saxophonists Jerry Bergonzi and George Garzone and the late drummer Ralph Peterson. Drummer Kayvon Gordon hails from Detroit. He was mentored by trumpeter Marcus Belgrave and attended the University of Michigan where he studied with bassist Robert Hurst and pianist Benny Green. With this pedigree, there is no doubt this trio has the firepower and finesse to make this a memorable evening of music.

The trio entered the stage and immediately went to work on what sounded like a Monk-inspired piece of music. Jagged, angular and edgy. There was little doubt that Fortner's music would be inspired by his study and mastering of the music's history. Despite his familiarity with the material, he is like a bubbling caldron of creativity that never settles for using well-worn musical cliques. He is expressive and surprising and there is a spontaneity to his approach that is quite refreshing.

The group played for two sets and covered some fourteen compositions, a few of which were originals and some music from composers Thad Jones, Cedar Walton, and Bobby Hutcherson. Two highlights were Charles Trenet's "La Mer" which was played in a stunning calypso style and the gorgeously embroidered take on Hoagy Carmichael's "Stardust," which was like hearing the well-healed classic in a new light. Throughout the performance, Fortner showed some amazing double-handed, Shearing-like block chording work. He has an impressive facility but he uses his skill to tell a story. Fortner's piano takes you time traveling. You can hear the art of Thelonious Monk, Erroll Garner, Eubie Blake, and even Art Tatum in his playing without it ever becoming mimicry. His bandmates are attuned to his changing directions and inventive excursions. Both are excellent soloists when called on. The set ended with the local tenor saxophonist, Nicole Glover, as a guest. She joined the trio for one ballad and two more energetic post-bop songs that added a new voice and some local flavor to the evening's music.

Diane Reeves and Reuben Rogers at Revolution Hall

Diane Reeves and her Band: Revolution Hall February 29, 2024 

One highlight of this festival was the chance to see Dianne Reeves and her band at the Revolution Hall. The Detroit-born Reeves is perhaps the ruling queen of current-day jazz singers in the world. Critic Scott Yanow called her "A logical successor to Dinah Washington and Carmen McRae..." In 2018 she was named a prestigious NEA Master. Her last album Light Up the Night: Live in Marciac was released back in 2016.

Reeves was joined this evening by the dynamic rhythm section of Reuben Rogers on bass and Terreon Gulley on drums, the talented pianist/arranger John Beasley on piano, electric piano and melodica, and the Brazilian master guitarist Romero Lubambo. 

Ms. Reeves is an eminent professional who captures the audience with her conversational rapport. Although the concert at Revolution Hall amazingly did not sell out, Reeves's buoyant stage presence never showed signs of being affected by the smaller but enthusiastic audience. She skillfully engaged with her fans and her warmth and ability to make the interaction personal made the event all the more special.

The band was exquisite. Keyboard artist John Bealey opened the set on a melodica, an air-activated keyboard device that created the closest thing to an electric saxophone sound. Beasley, himself an eight-time Grammy nominee, has won a Grammy for a song on his big band album Monk'estra Plays John Beasley released in 2020. Bassist Reuben Rogers hails from  St. Thomas in the US Virgin Islands and plays both electric and upright acoustic bass on the set. He is a prolific sideman and has been a long-time member of Diane Reeve's band and Charles Lloyd's trio. Terreon Gully is presently an Atlanta-based musician and Reeves's longtime drummer. Gully also holds down the drum chair in Beasley's Monk'estra Orchestra and has worked with Christian McBride and Stefon Harris among others. Romero Lubambo is a superb guitarist from Brazil. He came to NYC in 1985 and is known for his fluidity and inventiveness on both acoustic and electric guitars. He first played in the US with singer Astrid Gilberto in the early eighties and met and played with flutist Herbie Mann shortly thereafter. In 1992 he formed the Brazilian Trio La Paz with bassist Nilson Matta and drummer Duduka da Fonseca. Subsequently, Lubambo became a prolific recording artist and in demand as a top-flight studio musician. This world-class group of musicians complimented Reeves's magnificent voice at the show with a seamless interaction that was smooth as silk.

The show started off with Fleetwood Mac's popular number-one single "Dreams."  Reeves has the depth, timbre, and strength to let this one soar.  

Gigi Gryce's  "Social Call" with Jon Hendricks lyrics came next. It was popularized by Betty Carter in 1980. Reeves and the group made it all their own with the vocalist's facile scatting strongly accenting the music. 

Horace Silver's "Peace" is a ballad that was released by the pianist in 1959. It is a meditation on finding inner peace and tranquility, often through contemplation of nature's beauty. Reeves's soulful interpretation here transforms the ballad into a moving prayer with her Gospel-inspired performance.

The Brazilian master composer/vocalist Milton Nascimento's "Ponte de Areia" was first released in 1975 on his Minas and famously reimagined on Wayne Shorter's seminal Native Dancer of the same year, with Nascimento singing this mournful song. Reeves beautifully pliable voice and her talented band recreate this breezy song- a nostalgic story about the loss of a railway station as a metaphor for lost personal connections and its emotional effects. Reeves's commanding vocal acrobatics deftly replaced Nascimento's high-pitched falsetto to great effect.  Lumbaro's authentic guitar playing and the added jazz sensibilities transformed the audience into being part of a true Brazilian experience.

Reeves with Lumbaro on acoustic guitar played as a sensational duet, one on Reeves's composition "Nine" and the other on the Gershwin standard "Love Is Here to Stay," both intuitively presented in a way that captivated the audience with a feeling of intimacy. Lumbaro's guitar work never fails to emanate with intelligence and sensitivity.  

The set included another beautifully delivered Gershwin standard "Someone to Watch Over You" and the more challenging Wayne Shorter masterpiece "Footprints," which featured this group's musical acumen. After receiving a sustained and admiring applause from the audience, Reeves returned for her encore with her endearing composition "Better Days." If there was any doubt that Dianne Reeves's enormous stage appeal and upper-tier vocal talent were diminished in any way by her recent disappearance from the public's spotlight, this evening's performance put any doubts firmly to rest. She remains the ruling queen of vocal jazz.

The John Patitucci Brazilian Trio with Yotam Silberstein and Romero Boccato at the Old Church March 2, 2024

It is always a treat to get to see one of the world's finest electric and acoustic bass players in the world and John Patitucci rises to that level. I have seen John play twice before. Once with Chick Corea and his Elektric Band in Tarrytown, NY, and recently with the Jon Cowherd Quintet at Portland's now-defunct 1905. Each time you see this master musician in his milieu, his artistry and love for playing transpose you into a happy place. As the music critic, Rick Mitchell said, Patitucci is "...both a master of tone on the double-bass and the best electric bass guitar soloist since Jaco Pastorius."  Praise that I certainly concur with wholeheartedly.

The evening at the Old Church, the fittingly closing concert of the festival, took on the rhythmic sway and lilting beauty of Brazilian music. The accomplished Israeli guitarist Yotam Silberstein, who had previously performed as a leader in one of the festival's other concerts, played beautifully. Brazilian master percussionist Rogerio Boccato offered exquisite authenticity to the trio with his understated but timely drum and percussion rhythmic work. To watch this artist provide the most subtle but powerful accompaniment was a real treat.

The group played a series of Brazilian compositions from artists like Ivan Lins, guitarist Garoto, Milton Nascimento, and singer-songwriter Djavan. One highlight of the evening was the fluid Brazilian piece "Nilopolitano" from master accordionist Dominguinhas, which showcased the rapid-fire synchronous playing of Patitucci on his six-string electric bass along with Silberstein's equally blinding guitar lines. Another treat was Chico Buarque and João Bosco's composition "Sinhá" which was opened by a facile solo on Patitucci's custom electric bass. Toward the end of the performance, there was a Silberstein composition, "Requiem for Armando," a dedication to pianist Chick Corea, which highlighted the guitarists' most sensitive skills and Boccato's brilliantly subtlety. Patitucci did a solo encore and chose to play a hard bop piece on his double bass that showed just how liquid this inventive master can be.