My review of David Binney's Anacapa, today at All About Jazz.
Some artists move forward in great leaps and bounds, while others evolve more slowly, over longer periods of time. David Binney is one of those rare musicians who manage to do both. While a sampling of some of his recent albums, such as Bastion of Sanity (2005), Cities and Desire (2006) and Aliso (2010l, all on Criss Cross) paint a picture of the saxophonist as evolutionary,others, like 2009's Third Occasion and 2011's Graylen Epicenter (both on Binney's Mythology Records imprint) suggest he's capable of more revolutionary leaps forward as well. Even his most recent Criss Cross record, 2013's uncharacteristically unshackled Lifted Land, revealed hitherto unknown aspects of an artist whose ears and mind are always open.
But nothing could prepare even for the most seasoned Binney fan for Anacapa, a massive statement for the saxophonist/composer. While it's easy to throw around accolades like "best album to date," every subsequent listen to this remarkable recording makes clear that if this isn't Binney's absolute best record, it's certainly a strong contender, right up there with albums that remain particularly definitive, such as South (ACT, 20011), Graylen Epicenter and Afinidad (Red Records, 2001), Binney's first of three recordings co-led with Venezuelan-born pianist Edward Simon.
Still, there are certain earmarks on Anacapa that identify it instantly as a Binney record, even as the opening, synth-driven "She Loves, Introduction"—a through-composed miniature that, combines a four-on-the-floor electronic pulse with minimalist hints, synthesizers blazing otherworldly textures and close harmonies—suggests something very different going on as well. The album is bookended with the similarly synth but this time also sequencer-driven "She Hates, Outro"—in addition to its minimalist tendencies, also referencing the mitochondria of '70s electronic bands like Tangerine Dream buried somewhere deep in Binney's DNA...and, with his sparse saxophone line floating atop, some genetic coding of British saxophonist John Surman's solo excursions, such as Upon Reflection (ECM, 1980), as well.
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