Most of the ensemble lines in The Chicago Project are Parker and Roberts, but Parker’s tone, the album’s production, and Roberts’ strong playing make it sound like there’s a much larger lead section at work. With Abrams’ and Rosaly’s abilities to hold the rhythms down, these tracks click and bounce while illustrating the sum of the group’s parts. “Thrills” is grounded on some mean pseudo-ensemble playing, led by Parker’s nimble arpeggio. Rosaly’s drums dart between the main signature and a slower vamp, playing as out as possible without totally losing the downbeat.
Though there’s a lot of out playing in The Chicago Project, it’s a fairly subdued affair. It’s not hyper skronk, anything-goes free jazz; for the casual listener, there are songs with memorable melodies and easily followed rhythms.
In essence, The Chicago Project is three similar three-track parts. One song is very tonal in nature, one song has a much freer feel, and one is a Roberts/Anderson duet. Anderson’s contributions become apparent on the three numbered “Birdhouse” pieces. The two saxophonists weave lines around one another, meeting for melodic counterpoint and bouncing ideas off of one another in a way that is always changing and never tiresome.
The free-sounding tracks (“Exchange,” “Love Call,” “For Razi”) will be the least accessible to listeners who lack the ear or the patience for such music. However, those that are intimidated by discordant pieces would do well to listen through these. Starting with a sprint and ending gracefully, The Chicago Project is a testament to the Chicago jazz scene’s brilliance, not to mention the abilities of Ms. Roberts.
-Pat Hajduch
Matana Roberts: www.matanaroberts.com
Central Control: www.centralcontrol.co.uk