Drummer
Dan Aran can certainly claim stylistic allegiance to several factions of modern jazz, from the progressive to ethnic fusion and neo-bop. But it is
Dan Aran the composer and theorist who also stands out on this, his debut as a leader, teamed with various-sized groups and instrumentations that showcase the depth and breadth of his fertile imagination. As a rhythmic navigator, he challenges the norm with either extremely complex charts or adapting simple equations of swing into slightly embellished or peaceful pulses. A younger crowd of N.Y.C.-based musicians joins him, most notably trumpeter
Avishai Cohen alongside trombonist
Jonathan Voltzok, saxophonist
Eli Degibri on three cuts,
Matt Brewer or Tal Ronen on bass, and the very fine pianist
Art Hirahara throughout. There's a large quotient of soul in this music based on patient virtue, and the steadfast belief that even though all of the notes have been played, they can still have new depth and meaning. The four tracks featuring the two brass players represent the most bluesy pieces, including the slow, sighing six-beat-in-five-note strains of the opener, "Sun Bath," with delicate yet intricate, cascading stairstep lines over the processed, looped electric guitar of Nir Felder -- a beautifully developed objet d'art. An outstanding finale, "Yemini Pne" really digs deep into the midnight blue spectrum via
Hirahara's uptown late-night musings that merge into a modal groove with a stunning, jamming horn discourse that bumps the sleepy mood up several notches. A soft and gentle "Shnozel" recalls the sonic footprint of the great large ensembles of
Woody Shaw that featured
Slide Hampton or
Steve Turre, where a slowed version of
Ornette Coleman's "The Blessing" also gives sway to the notion of where these musicians received major information and inspiration. Another
Aran original, "Riva" sounds like a waltz or 6/8 amalgam of "Nature Boy" and "Midnight Sun." Ronen's contribution to the date, "Para Ezequiel" is a straight piano-bass-drums trio waltz, nothing fancy except a slight tango inference encouraging
Hirahara's romantic stance.
David Amram's multicultural theme "Gul Lihibib" is unearthed, a 7/8 Middle Eastern/Yiddish snake charmer/belly dance composition accented by the exotic flute of
Itai Kriss and
Uri Sharlin's accordion, while the bassoon of
Gili Sharett is woven through a tango ballad version of
Cole Porter's "I Concentrate on You." This is a recording deserving of several repeat listenings to hear the unfolded layers of sound and ideas that are more subtle, or not readily discernible upon first blush. It's that rare album that grows on you with each spin, a rare commodity in the modern jazz era of copyist populism and well-worn standard fare. For an initial outing, it's an outstanding effort, and comes with a hearty "two thumbs up" recommendation.