This Chicago-based quartet led by guitarist
Phil Mosberg effectively skirts the line between post-bop and the avant-garde, with tricky melodies, provocative solos, and attention to detail. The sole horn, Jon Irabogen, impresses with his authoritative, bold sound that sometimes recalls
Coleman Hawkins as much as anyone. But, Irabogen is a sensitive player for the 21st century, with winding, confident lines that snake in and out of conventional harmonies, with split tones, overblowing, and a deep understanding of melody. He is just as effective on the frail, understated compositions that comprise a fair portion of the album. While Irabogen stands out for his command and fluidity, leader
Mosberg wrote all the pieces and chimes in with some fine fingerwork. He shows his jazz influences, too, with some well-developed soloing. The album is not all about intensity, and one of the better tunes, "Split Valve," is a relaxed, boppish melody with strong contributions by
Mosberg on amplified guitar and Irabogen on clarinet.
Mosberg's chamber influences are evident throughout, as on the chilling "Goose Egg." Bassist
Nate Bakkum is an original, whether performing with or without the bow. He participates fully in the group sound in part as timekeeper but, more importantly, as a serious improviser and contributor to the front line. Drummer
Vance Okraszewski delicately massages his set, and then explodes, however cautiously, with syncopated rhythms and crossbeats. Released on the small Solitaire Records label, this one might be easily missed, but it is a little gem that is a courageously askew and a bit off the beaten path.