My review of Chris Potter Undergound Orchestra's Imaginary Cities, today at All About Jazz.
While he is, perhaps, best-known as a reed and woodwind multi-instrumentalist of tremendous power and versatility--the torch-bearer and logical successor, even, to the late, great Michael Brecker--Chris Potter has also demonstrated remarkable breadth as a bandleader and composer. It's hard to imagine that it's been only 23 years since the 44 year-old first came onto the scene with Red Rodney and began a career as a leader soon after with Presenting Chris Potter (Criss Cross, 1994)--the first of what is, with the release of Imaginary Cities, a substantial discography now numbering 18.
But for every hard-blowing session like Lift: Live at the Village Vanguard (Sunnyside, 2004) there's been a Song for Anyone (Sunnyside, 2007), a broad-minded recording for string trio, woodwinds trio and guitar-based rhythm section; and for every incendiary studio blowing date like Critical Mass (Dare2, 2006), with Dave Holland's longstanding quintet, there's Transatlantic (Red Dot, 2011), an ambitious large ensemble date with Denmark's DR Big Band.
Still, Potter's career took a major leap forward when he debuted his first album as a leader for Munich's venerable ECM Records. The Sirens (2013), where he deserted the electric energy of his relatively longstanding Underground group for an all- acoustic quintet date that, in its inclusion of two keyboardists--Underground's Craig Taborn, here solely on acoustic piano, and David Virelles, a relative newcomer to the scene, on prepared piano, celeste and harmonium--was ongoing evidence of Potter's drive to think and work outside the box.
And so, with Imaginary Cities, Potter continues to push the envelope, this time reconvening his Underground group with guitarist Adam Rogers, Craig Taborn and Holland band mate/drummer Nate Smith...but this time expanding it into the 11-piece Underground Orchestra with the addition of another Holland alum, mallet player Steve Nelson, two bassists and a string quartet led by Mark Feldman, whose What Exit (ECM, 2006) remains a career high point deserving of a follow-up.
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