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. 

 

Nate Smith Brings it Home with "KinFolk: Postcards from Everywhere"

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.

I had the opportunity to see Smith recently while he was on tour with the vocalist Jose James. Smith was the sole musician backing James and the two did a commendable job recreating the complexities of James’ studio album Life in a Time of Madness. The act required Smith to seamlessly mix his live drum work in tandem with some trap and dub step canned music from the album.

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. 

The album starts off with the wistful “Wish You Were Here” and plows right into the pulsing “Skip Skip,” a rhythmic ode with guest artists Dave Holland on bass, Lionel Loueke on guitar and Michael Mayo on vocals and percussion.

“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

The breathy voice of Gretchen Parlato is featured on Smith and Whatt’s composition “Pages.”  Despite the nostalgic sentiment of the lyrics, Smith’s orchestration is bright, uplifting and unapologetic. There is a Bruce Hornsby quality to this one, with Most’s fingerpicking, Bowers celeste sounding piano and Shaw’s airy soprano solo all adding to the vibe.  To his credit Smith never lets himself get lulled too deeply into a sappy prettiness, before he peppers the song with his own subtle rhythmic diversity. “From Here -Interlude” and “Small Moves -Interlude” are probably improvisational forays by the band that feel like brief ideas that the band hasn’t fully fleshed out yet.

“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.