Plot spoilers aren’t a thing in jazz. Narratives aren’t like a film in jazzdom. They aren’t plotted like a play you’d watch in the theatre. It’s impossible to make a sane comparison. But bear with the thought. So I can reveal there’s a good deal of bowed bass especially among the early portion of this agreeable retro-ist repast. But that’s more a red herring. A re-hash of past glories bowing down to a time that’s gone it’s not.
I don’t know about you but I have no problem at all about bowed bass or even red herrings. (Cooee. Q. E. D. – Le Fou de Bergerac.) Most jazz albums prefer plucked bass and phew there’s plenty of that here. But oh be daring and embrace what Boris Kozlov does early on – ‘ark at his arco.
It’s a truism that the best is worth waiting for but BK’s best bits come late on. I’ve heard the Russian live a few times play with the Mingus Big Band. But Paul Bollenback, no, apols but haven’t caught the 66 year old American live yet. That doesn’t stop me from liking his records. It’s all you have to go on if you can’t see the said jazzer or any other in person.
The most recent one I can think of was Alex Norris’ Table for Three the title track of which Bollenback soloed wonderfully on. The main difference between that record and this is that there is no role for trumpet so it’s even more intimate. But that is laundry list thinking as the ideas are what matters and Bollenback has plenty. And yet because it’s on the same label as the Norris, an indie from Denmark who operate in a similar way artistically to the Dutch Criss Cross Jazz which I think is Europe’s best straightahead label (Steeplechase isn’t far behind), you can set your geosat for an “acoustic” sensibility. This kind of label banishes “whippersnapper” approaches such as electronica and nu jazz but isn’t at all Blimp-ish. However, there’s nary a freak-out. Avantists will be concerned. But unduly. Because at the bones of the sound there’s a certain sophistry in the way the duo operates, their traceries forming a kind of palimpsest. In the words of Ariel, later rewoven by 1920s modernists into dystopian tapestries of delight, reflect: “Those are pearls that were his eyes. Look!”
The guys as you can see on the cover refrain from climbing into their kaftans and must have removed the flowers from their hair. But cover art isn’t SteepleChase’s strongest suit. But art attacks not withstanding it’s in any case too late to stop now as the look is long established and collectors would be confused if head honcho Nils and the cats started going all Jackson Pollock all of a sudden.
The album opens with Bollenback tune ‘Lope’. Duke’s ‘In a Sentimental Mood’ is sandwiched in between the opener and another Bollenback original. Up “u”n my word: top wordplay in any title if there is an award going for this sort of thing should be – paws for a few larks and a mini-chortle – the choice of ‘After Thaw-t.’
The heat was on when Bollenback played a lot with the late great Joey DeFrancesco. He appeared on a lot of the Hammond B-3 legend’s albums including the 2011 Jacko themed Never Can Say Goodbye for which the guitarist trousered a Grammy nomination for co-production.
It’s good to hear Kozlov, 57, in a different context. Usually he’s on Posi-Tone releases these days which can be a little too limiting given the firm house band style of that feelgood groove repository of a label although beyond all informed begrudgery I do dig what Art Hirahara does with him most on releases put out by Marc Free’s outfit.
So the sluice gates open – sleuth out and go seek Bollenback when he joined the Stacey-ite Hirahara on a Positone release called Good Company that I’d recommend. It flows.
Back to Synergy: I liked the treatment of 1960s Johnny Mandel classic ‘Emily’ here which was also on Bollenback album Invocation.
‘G Blues in Bb’ lands a little more in Peter Bernstein territory. If you know the work of Epsom guitarist Nigel Price then again forage about as this tune dovetails with the where-there’s-a-Wes niceties of His Nigeness.
I would say this is an after hours listen beyond chill out sort of record. If you play an instrument even in a very limited way it’s the kind of record you’d put on to learn a few chords from or pick out the melodies and play along with. You’d become a better player if you try. Final comments before saying ta-ra chuck, see that Kozlov is bril on ‘Benny’s Vibe’ but ‘Jittery Bugs’ steals the sesh.
The etymology of the word synergy comes from the Ancient Greek word “synergia” according to the Internet, so don’t take that derivation as gospel but bear with the unfootnoted drift, and can mean “co-operation”. And it has been used in English since the mid 17th century and isn’t if that is actually true what I thought it was: a recent management-speak invention that is often parroted by speak your weight spreadsheet Phils. No matter. What’s here is a world away from flip chart wonkery.
Plonk it down on the counter of your favourite record shop before parting with little more than a few bags of bottom drawer spare denarii, taking it home as it’s an album to get physical with rather than just wearing it as a locket on your iPhone to whip out when bored with reading too many arcane jazz trainspotter sub-Reddits.
You will be relieved that no one is pining for the fjords by trying to be ECM-like, complaining about the bazouki player (there isn’t one) and what’s here isn’t only an act of purest optimism. But Synergy is full of happy outcomes.
