Easy Company Reviews
City Pages:
By Rick Mason June 09, 2009
Jay Epstein with Bill Carrothers & Anthony Cox: Easy Company (GoneJazz 0902)
The company may be easy, but the ideas are complex and the playing especially cerebral on this luminous summit of three of the smartest players on the Twin Cities jazz scene. Drummer Jay Epstein, pianist Bill Carrothers (who now lives on Michigan's U.P.), and bassist Anthony Cox all sport extensive resumes that include innumerable sessions with international, national, and local jazz heavy-hitters. That includes one another, but they haven't recorded as a trio since the widely acclaimed neo-bop nugget Long Ago a dozen years ago.
Easy Company is an admirable follow-up: a sparkling collection of uncommon standards, surprising covers (Cream's "White Room," the Darth Vader theme from Star Wars), a handful of Epstein originals, and a concluding suite that juxtaposes wistfulness with the heart of darkness.
Distinguishing this trio in particular is the remarkable sense of lyricism each brings to the music, with touches so supple that melodies seem to glide off their instruments even while they probe the underlying depths of each piece with an endless array of expressive nuances: Epstein's shimmering cymbal work and clusters of rolling rhythms; Cox's fortuitous feints, alluring tone, and bold bowing; Carrothers's ceaselessly inventive escapades on the ivories. None is ever heavy-handed. Rather, they create sly conspiracies, like the version of John Williams's "Imperial March" that kicks things off. It's lush, almost romantic in spots, the shadowy portent of Vader conveyed by the intricate weave of instruments, culminating in Epstein's subtly frenetic rumble edging out front while Carrothers and Cox lurk nearby.
They follow with a dark, exotic version of Carla Bley's "Ida Lupino," Epstein again splashing the cymbals as if spinning a web of whispers, Cox scampering across with plump commentary while Carrothers ruminates on the melody. On Dean Magraw's spiky "N.R. Chi," Carrothers and Epstein trade jagged bits that flirt with free funk while Cox's pointillist runs settle into spooky, atmospheric bowing under Carrother's stalking piano.
The concluding "Forgotten Soldiers Suite" begins with a bright, nostalgic run through the standard "Midnight, the Stars & You," although Carrothers's fractured chords midway through suggest looming trouble. Sure enough, things get dramatically darker on Epstein's "Sgt. Rock," an unsettling viper's nest of scurrying piano and bass figures, while Fred Coots's melancholy ballad "For All We Know" is nearly as menacing thanks to its deliberate pace and Epstein's hectoring cymbals. The album ends with Epstein's haunting reflection on Art Spiegelman's Holocaust classic Maus, his drums grumbling like distant thunder against Cox's cello-like bowing while Carrother's piano quietly etches a sad, diffident melody.
Minneapolis Star Tribune:
Gray matters: Jay Epstein offers more shadings than your average drummer.
By Britt Robson, Special to the Star Tribune
Jay Epstein with Bill Carrothers & Anthony Cox: Easy Company (GoneJazz 0902)
A strong contender for best local jazz release of 2009, drummer Jay Epstein's "Easy Company" ends with a memorably meditative and atmospheric triptych of tunes.
Epstein's "Sgt. Rock" (an homage to the comic book character) has him rattling like a cricket on percussion while Anthony Cox furiously bows a brittle bass line and Bill Carrothers snakes deep phrases from the left side of his piano. The 75-year-old standard "For All We Know" is similarly dark-hued, tinged by Epstein's memories of Patty Peterson playing it at her cousin Bobby's funeral. "Maus," Epstein's brooding tribute to Art Spiegelman's Holocaust-themed graphic novel, concludes the disc.
Depressing? Not when it's balanced by songs like the "Imperial March" from the movie "Star Wars," a spunky cover of the rock band Cream's "White Room" and a sprightly rendition of the Ray Noble Orchestra chestnut "Midnight, the Stars & You." And not when the members of the trio are this accomplished and empathetic, lending resonance to the "Easy Company" title. The group will perform gigs in celebration of the CD's release tonight and tomorrow night at the Artists Quarter in downtown St. Paul.
Epstein also worked with Cox and Carrothers on his first, similarly adventurous CD in 1997, ironically titled "Long Ago." Although less internationally renowned than his two bandmates, Epstein has been a bulwark of creative improvisation in these parts for decades now, plying what he calls "the gray area."
"Drumnistically, when I was a kid there was a dichotomy between those who could play nice, clean time like Philly Joe Jones and Roy Haynes, and the very free players like Andrew Cyrille," Epstein explains. He went to study with drummer Barry Altschul -- best known for his work with Dave Holland and Chick Corea -- "because he bridged those inside guys and outside guys; he played in that gray area. I could hear it, but I didn't know how to get there." In that respect, "Easy Company" is notable for its multiple shades of gray, its blend of interactive grooves and intrepid experimentation. Epstein, who was Cox's roommate in the '70s and began playing with Carrothers in the '80s, lauds both for "having their own voice, which is the most important thing to me."
Pushed to describe his own growth, he accurately notes, "I've been discovering a lot about how to express myself in more comfortable and elegant ways, playing both stronger and with more sensitivity. Miles Davis once said, 'Sometimes it takes a long time to sound like yourself.' Some of us are late bloomers."
Jazz Police http://www.jazzpolice.com/content/view/8373/115/:
Easy Company, Magical Music: Epstein, Carrothers and Cox - by Andrea Canter
Although, in reviewing Epsteins previous CD, Long Ago, David Lewis (Cadence Magazine) described this ensemble as a piano trio, much of the success of Easy Company reflects the equity of the three voices, not any easy feat when Bill Carrothers is on the piano bench! Yet Carrothers has easy company when it comes to carrying the melodic line and improvisational expeditions, and each musician is as likely to lead as respond. As on Long Ago, the material for Easy Company is diverse in origin and mood: standards (as in classic and familiar, if significantly deviating from the originals) from the songbooks of Alec Wilder and Nat King Cole; covers of Carla Bley, Gary Peacock and Dean Magraw; reinventions of film tracks (John Williams Darth Vader theme from Star Trek) and rock hits (Creams White Room), and originals from Jay Epstein. Epstein closes the recording with a four-track Forgotten Solider Suite that combines two covers and two darkly inspired originals. Easy Company readily defines the music and collaborators the interactions are telepathic and sympathetic, the mood comfortable but never complacent, the music itself beautiful, at times haunting, at times swingingly joyful, at times off-kilter, always engaging.
Imperial March (John Williams track from Star Wars) opens the set, an introduction to Carrothers remarkable touch and extended harmonizations, while bass and drums ensure a driving force. Epstein ups the ante over Carrothers vamp with rolling thunder combinations of drums and cymbals, the track ending with some deep-end thoughts from Cox. On Carla Bleys Ida Lupino, Cox assertively leads into the tune in counterpoint to Carrothers lyrical phrasing and melodic passages from Epsteins cymbals. At times it seems that songful invention comes from all three instruments. As is his habit, Carrothers weaves in snatches of other themes; Cox solos with horn-like dexterity and force, all the while Epstein coaxes a symphony from his kit, with a full range of dynamics and rhythms as well as tones.
Dean Magraws N.R. Chi has all the quirky mystery of the composer, played out as a thick weave among three voices that come together as if a larger ensemble, with firebrand percussion, bottom-register antics on keys and deep contrasting basslines. Danger lurks around each phrase and one imagines this track as the sonic background of a modern thriller. On Epsteins Giza (which he describes as reflecting the mysteries of the pyramids), energy flows like the Nile, thanks to the drummers constant motion, while Carrothers and Cox create a dark dynamic. Coxs solo adds to the mystery, resonating like a human voice. Another volcanic bassist, Gary Peacock, composed Major Major, here featuring gorgeous trio interplay, with the lyricism of Cox and Carrothers awash in a sea of cymbal activity. Moon and Sand is one of Alec Wilders most elegant efforts, ditto Bill Carrothers.
One of the most interesting choices for Easy Company, Creams White Room from 1968 is a tour de force for Carrothers, the harmonies initially suggesting Marilyn Crispell, but the complexity of purpose and angular runs are purely Bill. Cox travels quickly beneath the keyboard and Epstein varies his tactics, revving up as Carrothers slows down, as Cox flutters. The leader takes an electric solo over the bass/piano vamp, the track resolving in a gentle settling of sonic dust. Nat King Cole turned Never Let Me Go into a classic, but if you are familiar with Bill Carrothers, you know he will take some unexpected turns, add extended voicings, and turn the familiar a few degrees left or right. Cox provides a gentle pulse, his solo here lonely and longing. Epsteins "Pick Three" is billed as a drum solo, although all three musicians participate. Its a quick trapset excursion of splatters and thumps. The drummers Giza Plateau is also a very brief interlude marked by the very deep and exotic lines of Anthony Cox.
The trio closes the set with the Forgotten Soldier Suite, Epsteins sequencing of four seemingly disparate compositions that here form a haunting tale. Midnight, the Stars and You was pushed to familiarity via The Shining but dates back to 1932, finding the musicians in full swing, each with his shining moment as they drift farther and farther afield, then return to nostalgic swing. The story takes a dark turn on Epsteins Sgt. Rock as Cox and Carrothers in tandem create what sounds like a badly tuned bass with loose strings over Epsteins eerie percussion effects. Cox generates some scrapes and buzzes while Carrothers creates his own sonic experiments (using prepared piano?). Each musician contributes his own dark fantasy, as danger lurks around each note. For All We Know is yet another reimagination of a familiar standard, the ambient clang of prepared piano suggesting Ethan Iverson launching a rock hit. The trio as a whole gives this a Bad Plus attitude, with driving (though never overpowering) drums and a steady bass pulse that hints at tragedy. Most brooding and wistful, Epsteins Maus offers reflections on Art Spiegelmans book about the Holocaust, Coxs funereal arco bass and the composers quiet thundering offsetting a dirge from Carrothers.
If the title Easy Company suggests relaxed simplicity, be assured this is merely a semantic illusion. Whenever one is in the presence of artists such as Jay Epstein, Bill Carrothers and Anthony Cox, the ease of their rapport and the clarity of their effort only help the listener focus on the multiple layers of their creations, whether reconstructions of familiar fare or collaborative explorations of new material. Each artist provides a magical melodicism through the resources of his own instrument, each instrument uniquely contributes to the palette of harmony, rhythm and dynamics that collectively yields Easy Company and compelling listening.
Most compelling will be the live performance of Jay Epstein, Bill Carrothers and Anthony Cox in celebration of Easy Company at the Artists Quarter this weekend (June 12-13), sets at 9 pm.
Arts Arena Blog Minnpost.com by Pamela Espeland:
Friday and Saturday, June 12-13: Jay Epstein, Bill Carrothers and Anthony Cox Easy Company CD Release. A dont-miss for so many reasons. This sterling trios last CD, Long Ago, came out in 1996 and 13 years is too long to wait for a second. Easy Company starts with a lush version of Imperial March (a.k.a. Darth Vaders Theme) by John Williams. Other tracks include Carla Bleys Ida Lupino, a piece with teeth by Dean Magraw called N.R. Chi, a delicious take on Creams White Room and an aching Never Let Me Go. It ends with four tracks that together form the Forgotten Soldier Suite. Part homage to Epsteins father, who fought in the Battle of the Bulge as a sergeant in the Combat Engineers, part nod to Carrothers abiding interest in history, it will likely end the evening, the better to send you thoughtful into the night. Its not for my father specifically, Epstein explains, but for any of our ancestors or contemporaries who have gone to war and come back from it. They bring the residue of war home and it touches all of us.... How easily these guys are forgotten. Epstein on drums, Carrothers on piano and Cox on bass. 9 PM Artists Quarter ($12).
Jazz.com:
Track Review: http://www.jazz.com/music/2009/7/13/jay-epstein-imperial-march
From Easy Company Jay Epstein (GoneJazz Records 0902)
Jay Epstein: drums, Bill Carrothers: piano, Anthony Cox: bass
Rating: 94/100
The lively sambas intro ushers in the distinctive harmonic minor melody and you sense a bit of d骠 vu- where have I heard this before? Then, images of a helmeted, heavy-breathing figure cloaked in black storms into your subconscious, as you realize the source. Well, thats a bit of a clench, you may say with some justification; but these guys pull it off with finesse. A tight, free, well meshed piano trio is always gratifying to the ear and Epsteins ensemble is all that. Bill Carrothers sounds a bit like Geoffrey Keezer gone over to the Dark Side, with well-defined phrases building the perfect amount of tension in the solo. Coxs rhythmic support holds it together while Epsteins independent kit work keeps the whole piece airborne without inappropriate percussive clutter. This satisfying interpretation slices through to the heart of a familiar, nay, culturally embedded theme, warping it into hyper-jazz drive with laser precision. Even Darth Vader would find its force hard to resist. Bill Barnes.
Thisisbooksmusic.com:
Jazz like this isnt meant to be placed in a display case to gawk at, this is jazz to bathe in so you can allow it to explore your pores. This is music meant for serious listening, because when it comes to Jay Epstein (drums), Anthony Cox (bass), and Bill Carrothers (piano) they will not settle for anything less. Easy Company (GoneJazz) is the sound of jazz brilliance at its best, where you will either smile with glee or cry in approval.
These guys are incredible musicians, years of experience behind them and nothing but optimism to guide them through a collection of 14 songs that will make any jazz fan and purist smile. Each of them play like leaders in their own game, but they come to the table to create the kind of perfect harmony that is somehow unique in music. Listen to Ida Lupino, Never Let Me Go, For All We Know, or Maus and you cant tell me this is some of the best jazz youve heard in years. Epstein doesnt pound the drums or beat it to a pulp, he colors the music with delicate touches and helps to anchor everything when need be. Cox is very subtle to the touch, gentle as a gentleman and manly as a man, he doesnt play the guitar as he seduces it, Charles Mingus fans will pee in envy. Then theres Carrothers, who would fit in on old albums by Ornette Coleman and Eric Dolphy as he fits in perfectly with the notions of today. It feels good, it feels right, this is just damn good music, the music that moved a generation to want to kill it, but Easy Company is uneasy listening for the conservative listener who feels this is the devils music. Im not a religious man, but this is truly heavenly. John Book
tcdailyplanet.net:
A solid disc by Jay Epstein. Back in the spring, Jay Epstein, a venerated workhorse who's gigged with the likes of Sarah Vaughan, Toots Theilmans, and Barney Kessel, released an impressive disc. Recording with his band Framework, their self-titled CD launched at the renowned Artists' Quarter in St. Paul. That lineup was Epstein (drums), Chris Bates (bass), and Chris Olsson (guitar), and Framework did well, drawing listeners, establishing an audience for the ensemble. So Epstein capitalized on said momentum, releasing Easy Company, following the trio's debut Long Ago. This is Epstein with noted longtime associates Bill Carrothers (piano) and Anthony Cox (bass), doing 14 cuts, including Epstein originals "Pick," "Sgt. Rock," "Maus," and "Giza," plus covers of "Ida Lupino" by legendary pianist-composer Carla Bley and "White Room" (yes, Cream's blues-rock anthem by Jack Bruce and Pete Brown). It's always a curiosity to see what jazzers do with tunes outside their genre. For instance, who's ever going to forget Ramsey Lewis overhauling pop singer Doby Gray's "The In Crowd" or Mongo Santamaria completely reworking "Grazing in the Grass" by one-hit wonders Friends of Distinction, rendering the catchy ditty a time-honored classic? Here, Epstein and cohorts give "White Room" a spacey, ethereal treatment no one could've seen coming. Barely hinting at the original melody, it affords everyone in the trio plenty of interpretive room in which to move and will have old-school jazz fans of cats like John Coltrane, Miles Davis, and such perking up their ears. The rest of the album similarly is an exercise is airing extremely inventive, wildly unpredictable chops that defy convention with incredible ease. Dwight Hobbs. http://www.tcdailyplanet.net/profiles/dwight-hobbes
All About Jazz:
One or two jazz standards, a handful of intriguing left-field choices, some interesting originals and one truly exceptional re-working of a classic love song: Easy Company is an album of pleasing surprises, performed by three extremely talented musicians. Drummer Jay Epstein leads the trio and contributes all five original compositions, but this is a genuine group performance on which all three players shine.
The album opens with left-field choice number one: John Williams' "Imperial March," better known as the Darth Vader theme from Star Wars (1977). Stripped of its cinematic context and orchestrations, it turns out to be a pleasant, swinging introduction to the album, although the mix tends to overemphasize Epstein's cymbals to the detriment of Bill Carrothers' delicate piano melody. "White Room," the Cream classic by Jack Bruce and Pete Brown from Wheels Of Fire (Polydor, 1968), fares less well without Bruce's vocal the tune lacks focus but the band's version of Carla Bley's "Ida Lupino," from Dinner Music (ECM 2000), is exquisite.
Epstein's own compositions stand up well in comparison to the better-known tunes. "Giza" is especially impressive; a slinky, slow and occasionally fragmented tune with a strong, lyrical solo from bassist Anthony Cox.
The final four tunes are grouped together as the "Forgotten Soldier Suite," dedicated by Epstein to "all whose bloodshed has faded from memory." It is here that the trio produces the finest piece on the album: an original take on J Fred Coots and Sam Lewis' "For All We Know." The song's message: take the chance today, because tomorrow may never come means that the song has often been linked to lovers separated by conflict, and so its place in the Suite is unsurprising. Epstein's arrangement is underpinned by a slow, funereal march that immediately creates a somber mood. On top of this, Carrothers plays a fractured, metallic melody line which emphasizes the poignancy of the tune and serves to extend the sense of sadness and loss. It is not a hopeful reading of the song, but it is a starkly beautiful one. Bruce Lindsay, Dec. 2009
Cadence Magazine:
Jay Epstein: Easy Company (GoneJazz 902)
Jay Epstein, d; Bill Carrothers, p; Anthony Cox, b. July 31, 2008, Minneapolis, MN.
While it is in fashion for piano trios to present their take on Classic Rock or other oddball tunes, it takes a special group to tackle, much less initiate their record with, Darth Vaders theme song. While one might suggest such a path as cute, drummer Jay Epstein and his trio gives John Williams Imperial March a fluid, jaunty read that emphasizes the groups technical facility and intuitiveness. Based in Minneapolis, Epstein and his colleagues offer their latest pursuit as a unit, Easy Company, coming on the heels of its impressive predecessor, Long Ago. The fourteen song excursion focuses on a mix of originals, obscure standards, and a curve ball or two. Most folks will likely be intrigued by their rendition of Creams Rock anthem White Room, taken as a classically-inspired, yet sprightly jaunt or other left-field choices like Carla Bleys airy Ida Lupino or Gary Peacocks restless Major Major.
While Epstein and Cox are fantastic players, Carrothers is a knockout. On Moon and Sand Carrothers harmonic touch is exquisite, while he flexes his Evans/Jarrett chops on the chestnut Never Let Me Go and the effervescent Midnight, The Stars & You, the opening section of Epsteins Forgotten Soldiers Suite. Worth noting as well is that this is definitely not some standards trio or quirky-for-quirkiness sake collective that can be easily dismissed. Rather, they are a diverse bunch who are comfortable mining the depths of their art as a unit. For instance, open-ended realms are explored on N.R. Chi and Sgt. Rock, though mystery imbues the atmospheric Giza, its companion Giza Plateau and the easygoing, but dark-hued Maus. Despite such a mixed bag of compositions, this is a distinctive outing given the tried-and-true format. For sure, this is a superlative piano trio session with enough eccentricity to soften even those hardened anti-piano trio curmudgeons.
Jay Collins Cadence Apr/May/Jun 2010
By Rick Mason June 09, 2009
Jay Epstein with Bill Carrothers & Anthony Cox: Easy Company (GoneJazz 0902)
The company may be easy, but the ideas are complex and the playing especially cerebral on this luminous summit of three of the smartest players on the Twin Cities jazz scene. Drummer Jay Epstein, pianist Bill Carrothers (who now lives on Michigan's U.P.), and bassist Anthony Cox all sport extensive resumes that include innumerable sessions with international, national, and local jazz heavy-hitters. That includes one another, but they haven't recorded as a trio since the widely acclaimed neo-bop nugget Long Ago a dozen years ago.
Easy Company is an admirable follow-up: a sparkling collection of uncommon standards, surprising covers (Cream's "White Room," the Darth Vader theme from Star Wars), a handful of Epstein originals, and a concluding suite that juxtaposes wistfulness with the heart of darkness.
Distinguishing this trio in particular is the remarkable sense of lyricism each brings to the music, with touches so supple that melodies seem to glide off their instruments even while they probe the underlying depths of each piece with an endless array of expressive nuances: Epstein's shimmering cymbal work and clusters of rolling rhythms; Cox's fortuitous feints, alluring tone, and bold bowing; Carrothers's ceaselessly inventive escapades on the ivories. None is ever heavy-handed. Rather, they create sly conspiracies, like the version of John Williams's "Imperial March" that kicks things off. It's lush, almost romantic in spots, the shadowy portent of Vader conveyed by the intricate weave of instruments, culminating in Epstein's subtly frenetic rumble edging out front while Carrothers and Cox lurk nearby.
They follow with a dark, exotic version of Carla Bley's "Ida Lupino," Epstein again splashing the cymbals as if spinning a web of whispers, Cox scampering across with plump commentary while Carrothers ruminates on the melody. On Dean Magraw's spiky "N.R. Chi," Carrothers and Epstein trade jagged bits that flirt with free funk while Cox's pointillist runs settle into spooky, atmospheric bowing under Carrother's stalking piano.
The concluding "Forgotten Soldiers Suite" begins with a bright, nostalgic run through the standard "Midnight, the Stars & You," although Carrothers's fractured chords midway through suggest looming trouble. Sure enough, things get dramatically darker on Epstein's "Sgt. Rock," an unsettling viper's nest of scurrying piano and bass figures, while Fred Coots's melancholy ballad "For All We Know" is nearly as menacing thanks to its deliberate pace and Epstein's hectoring cymbals. The album ends with Epstein's haunting reflection on Art Spiegelman's Holocaust classic Maus, his drums grumbling like distant thunder against Cox's cello-like bowing while Carrother's piano quietly etches a sad, diffident melody.
Minneapolis Star Tribune:
Gray matters: Jay Epstein offers more shadings than your average drummer.
By Britt Robson, Special to the Star Tribune
Jay Epstein with Bill Carrothers & Anthony Cox: Easy Company (GoneJazz 0902)
A strong contender for best local jazz release of 2009, drummer Jay Epstein's "Easy Company" ends with a memorably meditative and atmospheric triptych of tunes.
Epstein's "Sgt. Rock" (an homage to the comic book character) has him rattling like a cricket on percussion while Anthony Cox furiously bows a brittle bass line and Bill Carrothers snakes deep phrases from the left side of his piano. The 75-year-old standard "For All We Know" is similarly dark-hued, tinged by Epstein's memories of Patty Peterson playing it at her cousin Bobby's funeral. "Maus," Epstein's brooding tribute to Art Spiegelman's Holocaust-themed graphic novel, concludes the disc.
Depressing? Not when it's balanced by songs like the "Imperial March" from the movie "Star Wars," a spunky cover of the rock band Cream's "White Room" and a sprightly rendition of the Ray Noble Orchestra chestnut "Midnight, the Stars & You." And not when the members of the trio are this accomplished and empathetic, lending resonance to the "Easy Company" title. The group will perform gigs in celebration of the CD's release tonight and tomorrow night at the Artists Quarter in downtown St. Paul.
Epstein also worked with Cox and Carrothers on his first, similarly adventurous CD in 1997, ironically titled "Long Ago." Although less internationally renowned than his two bandmates, Epstein has been a bulwark of creative improvisation in these parts for decades now, plying what he calls "the gray area."
"Drumnistically, when I was a kid there was a dichotomy between those who could play nice, clean time like Philly Joe Jones and Roy Haynes, and the very free players like Andrew Cyrille," Epstein explains. He went to study with drummer Barry Altschul -- best known for his work with Dave Holland and Chick Corea -- "because he bridged those inside guys and outside guys; he played in that gray area. I could hear it, but I didn't know how to get there." In that respect, "Easy Company" is notable for its multiple shades of gray, its blend of interactive grooves and intrepid experimentation. Epstein, who was Cox's roommate in the '70s and began playing with Carrothers in the '80s, lauds both for "having their own voice, which is the most important thing to me."
Pushed to describe his own growth, he accurately notes, "I've been discovering a lot about how to express myself in more comfortable and elegant ways, playing both stronger and with more sensitivity. Miles Davis once said, 'Sometimes it takes a long time to sound like yourself.' Some of us are late bloomers."
Jazz Police http://www.jazzpolice.com/content/view/8373/115/:
Easy Company, Magical Music: Epstein, Carrothers and Cox - by Andrea Canter
Although, in reviewing Epsteins previous CD, Long Ago, David Lewis (Cadence Magazine) described this ensemble as a piano trio, much of the success of Easy Company reflects the equity of the three voices, not any easy feat when Bill Carrothers is on the piano bench! Yet Carrothers has easy company when it comes to carrying the melodic line and improvisational expeditions, and each musician is as likely to lead as respond. As on Long Ago, the material for Easy Company is diverse in origin and mood: standards (as in classic and familiar, if significantly deviating from the originals) from the songbooks of Alec Wilder and Nat King Cole; covers of Carla Bley, Gary Peacock and Dean Magraw; reinventions of film tracks (John Williams Darth Vader theme from Star Trek) and rock hits (Creams White Room), and originals from Jay Epstein. Epstein closes the recording with a four-track Forgotten Solider Suite that combines two covers and two darkly inspired originals. Easy Company readily defines the music and collaborators the interactions are telepathic and sympathetic, the mood comfortable but never complacent, the music itself beautiful, at times haunting, at times swingingly joyful, at times off-kilter, always engaging.
Imperial March (John Williams track from Star Wars) opens the set, an introduction to Carrothers remarkable touch and extended harmonizations, while bass and drums ensure a driving force. Epstein ups the ante over Carrothers vamp with rolling thunder combinations of drums and cymbals, the track ending with some deep-end thoughts from Cox. On Carla Bleys Ida Lupino, Cox assertively leads into the tune in counterpoint to Carrothers lyrical phrasing and melodic passages from Epsteins cymbals. At times it seems that songful invention comes from all three instruments. As is his habit, Carrothers weaves in snatches of other themes; Cox solos with horn-like dexterity and force, all the while Epstein coaxes a symphony from his kit, with a full range of dynamics and rhythms as well as tones.
Dean Magraws N.R. Chi has all the quirky mystery of the composer, played out as a thick weave among three voices that come together as if a larger ensemble, with firebrand percussion, bottom-register antics on keys and deep contrasting basslines. Danger lurks around each phrase and one imagines this track as the sonic background of a modern thriller. On Epsteins Giza (which he describes as reflecting the mysteries of the pyramids), energy flows like the Nile, thanks to the drummers constant motion, while Carrothers and Cox create a dark dynamic. Coxs solo adds to the mystery, resonating like a human voice. Another volcanic bassist, Gary Peacock, composed Major Major, here featuring gorgeous trio interplay, with the lyricism of Cox and Carrothers awash in a sea of cymbal activity. Moon and Sand is one of Alec Wilders most elegant efforts, ditto Bill Carrothers.
One of the most interesting choices for Easy Company, Creams White Room from 1968 is a tour de force for Carrothers, the harmonies initially suggesting Marilyn Crispell, but the complexity of purpose and angular runs are purely Bill. Cox travels quickly beneath the keyboard and Epstein varies his tactics, revving up as Carrothers slows down, as Cox flutters. The leader takes an electric solo over the bass/piano vamp, the track resolving in a gentle settling of sonic dust. Nat King Cole turned Never Let Me Go into a classic, but if you are familiar with Bill Carrothers, you know he will take some unexpected turns, add extended voicings, and turn the familiar a few degrees left or right. Cox provides a gentle pulse, his solo here lonely and longing. Epsteins "Pick Three" is billed as a drum solo, although all three musicians participate. Its a quick trapset excursion of splatters and thumps. The drummers Giza Plateau is also a very brief interlude marked by the very deep and exotic lines of Anthony Cox.
The trio closes the set with the Forgotten Soldier Suite, Epsteins sequencing of four seemingly disparate compositions that here form a haunting tale. Midnight, the Stars and You was pushed to familiarity via The Shining but dates back to 1932, finding the musicians in full swing, each with his shining moment as they drift farther and farther afield, then return to nostalgic swing. The story takes a dark turn on Epsteins Sgt. Rock as Cox and Carrothers in tandem create what sounds like a badly tuned bass with loose strings over Epsteins eerie percussion effects. Cox generates some scrapes and buzzes while Carrothers creates his own sonic experiments (using prepared piano?). Each musician contributes his own dark fantasy, as danger lurks around each note. For All We Know is yet another reimagination of a familiar standard, the ambient clang of prepared piano suggesting Ethan Iverson launching a rock hit. The trio as a whole gives this a Bad Plus attitude, with driving (though never overpowering) drums and a steady bass pulse that hints at tragedy. Most brooding and wistful, Epsteins Maus offers reflections on Art Spiegelmans book about the Holocaust, Coxs funereal arco bass and the composers quiet thundering offsetting a dirge from Carrothers.
If the title Easy Company suggests relaxed simplicity, be assured this is merely a semantic illusion. Whenever one is in the presence of artists such as Jay Epstein, Bill Carrothers and Anthony Cox, the ease of their rapport and the clarity of their effort only help the listener focus on the multiple layers of their creations, whether reconstructions of familiar fare or collaborative explorations of new material. Each artist provides a magical melodicism through the resources of his own instrument, each instrument uniquely contributes to the palette of harmony, rhythm and dynamics that collectively yields Easy Company and compelling listening.
Most compelling will be the live performance of Jay Epstein, Bill Carrothers and Anthony Cox in celebration of Easy Company at the Artists Quarter this weekend (June 12-13), sets at 9 pm.
Arts Arena Blog Minnpost.com by Pamela Espeland:
Friday and Saturday, June 12-13: Jay Epstein, Bill Carrothers and Anthony Cox Easy Company CD Release. A dont-miss for so many reasons. This sterling trios last CD, Long Ago, came out in 1996 and 13 years is too long to wait for a second. Easy Company starts with a lush version of Imperial March (a.k.a. Darth Vaders Theme) by John Williams. Other tracks include Carla Bleys Ida Lupino, a piece with teeth by Dean Magraw called N.R. Chi, a delicious take on Creams White Room and an aching Never Let Me Go. It ends with four tracks that together form the Forgotten Soldier Suite. Part homage to Epsteins father, who fought in the Battle of the Bulge as a sergeant in the Combat Engineers, part nod to Carrothers abiding interest in history, it will likely end the evening, the better to send you thoughtful into the night. Its not for my father specifically, Epstein explains, but for any of our ancestors or contemporaries who have gone to war and come back from it. They bring the residue of war home and it touches all of us.... How easily these guys are forgotten. Epstein on drums, Carrothers on piano and Cox on bass. 9 PM Artists Quarter ($12).
Jazz.com:
Track Review: http://www.jazz.com/music/2009/7/13/jay-epstein-imperial-march
From Easy Company Jay Epstein (GoneJazz Records 0902)
Jay Epstein: drums, Bill Carrothers: piano, Anthony Cox: bass
Rating: 94/100
The lively sambas intro ushers in the distinctive harmonic minor melody and you sense a bit of d骠 vu- where have I heard this before? Then, images of a helmeted, heavy-breathing figure cloaked in black storms into your subconscious, as you realize the source. Well, thats a bit of a clench, you may say with some justification; but these guys pull it off with finesse. A tight, free, well meshed piano trio is always gratifying to the ear and Epsteins ensemble is all that. Bill Carrothers sounds a bit like Geoffrey Keezer gone over to the Dark Side, with well-defined phrases building the perfect amount of tension in the solo. Coxs rhythmic support holds it together while Epsteins independent kit work keeps the whole piece airborne without inappropriate percussive clutter. This satisfying interpretation slices through to the heart of a familiar, nay, culturally embedded theme, warping it into hyper-jazz drive with laser precision. Even Darth Vader would find its force hard to resist. Bill Barnes.
Thisisbooksmusic.com:
Jazz like this isnt meant to be placed in a display case to gawk at, this is jazz to bathe in so you can allow it to explore your pores. This is music meant for serious listening, because when it comes to Jay Epstein (drums), Anthony Cox (bass), and Bill Carrothers (piano) they will not settle for anything less. Easy Company (GoneJazz) is the sound of jazz brilliance at its best, where you will either smile with glee or cry in approval.
These guys are incredible musicians, years of experience behind them and nothing but optimism to guide them through a collection of 14 songs that will make any jazz fan and purist smile. Each of them play like leaders in their own game, but they come to the table to create the kind of perfect harmony that is somehow unique in music. Listen to Ida Lupino, Never Let Me Go, For All We Know, or Maus and you cant tell me this is some of the best jazz youve heard in years. Epstein doesnt pound the drums or beat it to a pulp, he colors the music with delicate touches and helps to anchor everything when need be. Cox is very subtle to the touch, gentle as a gentleman and manly as a man, he doesnt play the guitar as he seduces it, Charles Mingus fans will pee in envy. Then theres Carrothers, who would fit in on old albums by Ornette Coleman and Eric Dolphy as he fits in perfectly with the notions of today. It feels good, it feels right, this is just damn good music, the music that moved a generation to want to kill it, but Easy Company is uneasy listening for the conservative listener who feels this is the devils music. Im not a religious man, but this is truly heavenly. John Book
tcdailyplanet.net:
A solid disc by Jay Epstein. Back in the spring, Jay Epstein, a venerated workhorse who's gigged with the likes of Sarah Vaughan, Toots Theilmans, and Barney Kessel, released an impressive disc. Recording with his band Framework, their self-titled CD launched at the renowned Artists' Quarter in St. Paul. That lineup was Epstein (drums), Chris Bates (bass), and Chris Olsson (guitar), and Framework did well, drawing listeners, establishing an audience for the ensemble. So Epstein capitalized on said momentum, releasing Easy Company, following the trio's debut Long Ago. This is Epstein with noted longtime associates Bill Carrothers (piano) and Anthony Cox (bass), doing 14 cuts, including Epstein originals "Pick," "Sgt. Rock," "Maus," and "Giza," plus covers of "Ida Lupino" by legendary pianist-composer Carla Bley and "White Room" (yes, Cream's blues-rock anthem by Jack Bruce and Pete Brown). It's always a curiosity to see what jazzers do with tunes outside their genre. For instance, who's ever going to forget Ramsey Lewis overhauling pop singer Doby Gray's "The In Crowd" or Mongo Santamaria completely reworking "Grazing in the Grass" by one-hit wonders Friends of Distinction, rendering the catchy ditty a time-honored classic? Here, Epstein and cohorts give "White Room" a spacey, ethereal treatment no one could've seen coming. Barely hinting at the original melody, it affords everyone in the trio plenty of interpretive room in which to move and will have old-school jazz fans of cats like John Coltrane, Miles Davis, and such perking up their ears. The rest of the album similarly is an exercise is airing extremely inventive, wildly unpredictable chops that defy convention with incredible ease. Dwight Hobbs. http://www.tcdailyplanet.net/profiles/dwight-hobbes
All About Jazz:
One or two jazz standards, a handful of intriguing left-field choices, some interesting originals and one truly exceptional re-working of a classic love song: Easy Company is an album of pleasing surprises, performed by three extremely talented musicians. Drummer Jay Epstein leads the trio and contributes all five original compositions, but this is a genuine group performance on which all three players shine.
The album opens with left-field choice number one: John Williams' "Imperial March," better known as the Darth Vader theme from Star Wars (1977). Stripped of its cinematic context and orchestrations, it turns out to be a pleasant, swinging introduction to the album, although the mix tends to overemphasize Epstein's cymbals to the detriment of Bill Carrothers' delicate piano melody. "White Room," the Cream classic by Jack Bruce and Pete Brown from Wheels Of Fire (Polydor, 1968), fares less well without Bruce's vocal the tune lacks focus but the band's version of Carla Bley's "Ida Lupino," from Dinner Music (ECM 2000), is exquisite.
Epstein's own compositions stand up well in comparison to the better-known tunes. "Giza" is especially impressive; a slinky, slow and occasionally fragmented tune with a strong, lyrical solo from bassist Anthony Cox.
The final four tunes are grouped together as the "Forgotten Soldier Suite," dedicated by Epstein to "all whose bloodshed has faded from memory." It is here that the trio produces the finest piece on the album: an original take on J Fred Coots and Sam Lewis' "For All We Know." The song's message: take the chance today, because tomorrow may never come means that the song has often been linked to lovers separated by conflict, and so its place in the Suite is unsurprising. Epstein's arrangement is underpinned by a slow, funereal march that immediately creates a somber mood. On top of this, Carrothers plays a fractured, metallic melody line which emphasizes the poignancy of the tune and serves to extend the sense of sadness and loss. It is not a hopeful reading of the song, but it is a starkly beautiful one. Bruce Lindsay, Dec. 2009
Cadence Magazine:
Jay Epstein: Easy Company (GoneJazz 902)
Jay Epstein, d; Bill Carrothers, p; Anthony Cox, b. July 31, 2008, Minneapolis, MN.
While it is in fashion for piano trios to present their take on Classic Rock or other oddball tunes, it takes a special group to tackle, much less initiate their record with, Darth Vaders theme song. While one might suggest such a path as cute, drummer Jay Epstein and his trio gives John Williams Imperial March a fluid, jaunty read that emphasizes the groups technical facility and intuitiveness. Based in Minneapolis, Epstein and his colleagues offer their latest pursuit as a unit, Easy Company, coming on the heels of its impressive predecessor, Long Ago. The fourteen song excursion focuses on a mix of originals, obscure standards, and a curve ball or two. Most folks will likely be intrigued by their rendition of Creams Rock anthem White Room, taken as a classically-inspired, yet sprightly jaunt or other left-field choices like Carla Bleys airy Ida Lupino or Gary Peacocks restless Major Major.
While Epstein and Cox are fantastic players, Carrothers is a knockout. On Moon and Sand Carrothers harmonic touch is exquisite, while he flexes his Evans/Jarrett chops on the chestnut Never Let Me Go and the effervescent Midnight, The Stars & You, the opening section of Epsteins Forgotten Soldiers Suite. Worth noting as well is that this is definitely not some standards trio or quirky-for-quirkiness sake collective that can be easily dismissed. Rather, they are a diverse bunch who are comfortable mining the depths of their art as a unit. For instance, open-ended realms are explored on N.R. Chi and Sgt. Rock, though mystery imbues the atmospheric Giza, its companion Giza Plateau and the easygoing, but dark-hued Maus. Despite such a mixed bag of compositions, this is a distinctive outing given the tried-and-true format. For sure, this is a superlative piano trio session with enough eccentricity to soften even those hardened anti-piano trio curmudgeons.
Jay Collins Cadence Apr/May/Jun 2010
