Labyrinth (Manricks Music Records)
Jacam Manricks
Trigonometry (Posi-Tone)
Jacam Manricks
The Australian-born, New York-based saxophonist and composer is the kind of jazz musician that Jason Marsalis warned you about. Manricks is supremely educated — he has a Doctorate in Musical Arts from the Manhattan School of Music as well as a Masters Degree in jazz composition and arranging — and his writing embraces straight-eighth rhythmic feels, often in odd or mixed meters, complex harmonies and angular or serpentine melodies. If you need further proof of Manrick’s jazz-nerd credentials, check out some of his song titles: Trigonometry, Micro-Gravity, Aeronautics, Nucleus, and Labyrinth.
Kidding aside, here’s a clip of Manricks’ quartet performing Labyrinth, which is the title track of his 2009 disc and also appears his 2010 release Trigonometry.
In the liner notes to Labyrinth, Manricks writes: “My intention in creating this, at times, complex music is not to confuse the listener but to provide them with a musical journey that offers beauty, sophistication and a clear path to musical expressions.” But does that statement admit that even unintentionally, Manricks’ music can confuse? (If you are intrigued rather than daunted, some of Manricks’ scores are here for your perusal.)
But don’t get me wrong. I like Manricks’ music and I’m finding that the nerdier it gets, the better. (the density of the contemporary complexities does mean that my ear gets a tired a little sooner, but that is not a knock against the music, I think)
The more satisfying disc for me is Labyrinth, which seems a little less like a standard studio session and more like a group fo elite musicians (guitarist Ben Monder! drummer Tyshawn Sorey! Pianist Jacob Sacks and bassist Thomas Morgan — both associates of alto saxophone firebrand David Binney) united to realize Manricks’ very detailed but forthright music. The debut CD also has a larger sonic palette, with a larger variety of instruments (Manricks on many woodwinds, Monder manipulating his sound and playing acoustic guitar) and even an orchestra well deployed.
Squenced for a gradual release of intensity, Labyrinth eases in listeners with a short overture, Portal, which posits a long quirky unison for Manricks’ alto and Monder’s guitar, against the rumbling, percolating accompaniment. It’s like a statement of purpose, making clear that the disc will sit just to the left of jazz’s modern mainstream.
Micro-Gravity begins with a duet for Manricks’s pleasingly tart horn and Monder’s smart, shimmering guitar work. A quasi-martial interlude follows, driven by Sorey’s snare-drum work and swathed in a rich, orchestral backing. Monder and then Manricks take incisive, sophisticated solos over a swirl of swings and horns.
With its long, questing melody and its harmonic grid explicitly stated, the title track makes me think that Manricks is big into the Rosenwinkel/Turner vibe. However, with his own fluidity and intensity, Manricks makes clear that he more than an acolyte. Sacks then makes his way through the labyrinth, having fun with its twists and turns. As the song concludes, it rises thanks to Sorey’s powerful drumming.
The lyrical, pastoral Move on feels like a Maria Schneider work for small ensemble, with Manricks soprano saxophone singing the melody and an insistent bed of rhythmic accompany from first Sacks’ piano and then Monder’s acoustic guitar. The long, multi-stage Cloister is initially reminiscent of Binney’s writing before it showcases probing solos by Sacks, Monder and Sorey.
Trigonometry finds Manricks with a complete different set of equally accomplished players — principally, pianist Gary Versace, bassist Joe Martin and drummer Obed Calvaire. It’s a looser, more conventional disc that has many fine moments but also feels just a bit less democratic than Labyrinth does — Manricks seems to be hogging the solo time, which is odd given the calibre of the players.
The title track kicks of the disc with a bit of open, spacious funk. Manricks solos engagingly, and the positive power of Calvaire shines through — all in under four minutes. Cluster Funk is a slightly more rigid funk tune for sextet, a long-form mutated blues with some snaking counterpoint for three horns as its distinguishing feature. It’s nice to hear trumpeter Scott Wendholt blow a bit, and I wish that he appeared more frequently on the disc as a foil to Manricks.
Slippery is a quirky mid-tempo swinger for quartet that becomes Rhythm changes when it comes time to blow. Only Manricks solos, and the tune clocks in under four minutes. Similarly, on the dark and tense Sketch, Manricks is the only soloist.. Miss Ann Dolphy, the Eric Dolphy composition is a romp for Manricks, Martin and Calvaire.
Given the disc’s sequencing, I was waiting along time to hear pianist Versace stretch out. Versace fans fear not — His time arrives during the seventh track, Mood Swing, and in the subsequent pieces Labyrinth and Combat.
While Manricks’ music overall has a pretty cerebral glaze to it, he also fashions music that is pretty first and cerebral second. Mood Swing is a lovely floating ballad. Nucleus is my favourite piece on the disc — probably due to its plaintive beginning, lushly voiced for extra horns, and because of its punchy ending as well.
While both discs are strong introductions to a young and distinctive talent, I’d give the nod to Manricks first CD.
by Dan Bilawsky
