(Contemporary Jazz, Avant-Garde) [CD] JD Allen (with Orrin Evans, Alexander Claffy, Jonathan Barber) - Bloom - 2014, FLAC (tracks+.cue), lossless

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XLD extraction logfile from 2014-07-31 15:43:15 -0400
JD Allen / Bloom
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        8  | 28:03:12 | 04:52:09 |    126237    |   148145
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       10  | 36:11:54 | 04:18:21 |    162879    |   182249
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TITLE "Bloom"
PERFORMER "JD Allen"
CATALOG 0633842213927
REM GENRE "Jazz"
REM DATE "2014"
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FILE "02 Bloom.flac" WAVE
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Composition titles can be contentious vessels of meaning in purely instrumental music. Absent the explication delivered by lyrics, specific intent often falls to inference on the part of the audience. Saxophonist JD Allen muses on this situation in the self-scripted liners to Bloom, his third album for Savant. By his reckoning, “Each title should represent a type of mindset to have while listening, a kind of soundtrack without a movie.”
The 10 titles that make up the album in question certainly work as effective catalysts in this regard, conjuring imagery and ideas without obvious explanation and with a collective ear toward succinct transmission.
As with his last accolade-amassing album Grace, Allen once again leads a quartet.
Pianist Orrin Evans fills the chair previously occupied by Eldar Djangirov and bassist Alexander Claffy also joins as a new recruit. Drummer Jonathan Barber is a returning asset. Allen cites Oliver Messiaen and Arnold Schönberg as influences on the music for the group without getting overly academic as to application. Although unnamed, Andrew Hill seems like another reference point in the band’s blending of melodic shadow and light.
“Jack’s Glass” puts the reference points into immediate practice. Evans sets up a cumulative harmonic anchor surrounded by the steady swirl of Claffy’s thrumming accents and Barber’s brushes; Allen overlaps adroitly in his variations on the theme. “BLOOM” distills to tenor and drums in its opening seconds before a full group push into more harmonically complicated territory, Barber prodding the beat and Evans tugging it back to create an effective kinetic tension.
Barber is the spotlight on “The Secret Lives of Guest Workers,” arguably the favored winner in the inscrutable title sweepstakes, stirring up an aggressive but thoroughly controlled head of steam through the solo statement that dominates the three-minute piece. “A Throng of Millions Can Be One” is also a contender and a concentrated opportunity to hear the group alter ensemble density through the poignant release of Evans’ pedal-embellished punctuations.
The album’s second half switches gears sharply, first with a pair of standard interpretations: Evans sits out on “If You Could See Me Now,” leaving Allen to a trio structure reminiscent of his earlier albums and a retro ballad feel heavily weighted on tumescent tenor melody. The lush solo version of “Stardust” that follows is even more out of immediate character and results in the sort of stirring performance that harkens back to Sonny Rollins’ solitary sojourns on the Williamsburg Bridge.
“The Rule of Thirds” returns the group to the brooding disposition of the initial tracks with Evans stabbing block chords and Claffy’s darkly buzzing arco the standout, while “Pater Noster” advances on a rising gospel swell and an incessant snare roll by Barber. Last in the set comes “Car-Car (The Blues),” a shuffle split in two by turns from Evans first and Allen later, engaging the rhythm section in the absence of the other. Allen ends the track with an elongated declamatory honk, the aural equivalent of an absence of ambiguity and one of the few instances where he wears his intention transparently on his sleeve.