Framework Reviews
Framework
Personnel: Chris Bates: bass; Jay Epstein: drums; Chris Olson: guitars
GoneJazz 0902 (2009)
By Matthew Warnock – Allaboutjazz.com
Framework is a well-written and engaging modern jazz album featuring the Minneapolis based trio of bassist Chris Bates, drummer Jay Epstein and guitarist Chris Olson. The tunes on the album are a collection of original compositions written by the members of the trio as well as two Wayne Shorter tunes and the scarcely performed, but definitely deserving more attention, "Camino de las Tropas" by Carlos Moscardini. Every tune is creatively arranged in a manner that allows each member of the trio to insert their own unique voice into the pieces, while still maintaining a strong sense of ensemble throughout. Each member of the trio is at the top of their games on every melody and solo throughout the album. As the lead instrument, Olson steps up to the plate and delivers during every melodic interpretation, comping section and improvised solo. His work on Shorter's "Valse Triste" successfully walks the fine line of homage and imitation as he weaves his way through a solo that is at the same time a tribute to the great saxophonist and a personal statement on the tune itself. The rhythm section of Bates and Epstein are also in fine form as both accompanists and soloists. The time and feel is steady on every track and both musicians play with big ears that allow them to catch the rhythmic cues thrown at them by Olson, which only adds to the success of the ensemble. Bates' solo introduction to the tune "Solid/Liquid" is one of the highlights of the album. Channeling lines and phrases from the likes of Dave Holland and Eddie Gomez, Bates releases a barrage of exceptional runs that are the perfect lead-in to the dirge-like melody section of the piece.
One of the most unique aspects of the album is that is was recorded by the students of Chopper Black at the McNally Smith College of Music. The fact that McNally has students that can produce an album that is professional in both its sound and mix is a testament to the level of teaching and mentorship these students are receiving at the College. Every note on the guitar rings through crisp and clear, the mix of the drums is dead on and the bass is full yet never boomy. If the trio had not written this fact in the liner notes it would be impossible to tell that this recording was not made by experienced studio professionals.
Framework is a strong release for the trio of Epstein, Bates and Olson. The tunes are melodic and harmonically interesting, the solos are energetic and the ensemble interacts on the highest level. All of which come together to produce an album that is as entertaining as it is intellectually stimulating.
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Framework CD Review – JazzPolice.com – by Andrea Canter (2009)
Self-titled, Framework’s first recording (on GoneJazz) has already been dubbed as “one of the best hometown jazz albums of the year” by Tom Surowicz (Star Tribune), “both cerebral and visceral, electric and acoustic, with sublime compositions, enviable empathy and a couple very cool Wayne Shorter covers.” About eighteen months in the making, the trio recorded at McNally Smith College with engineer Chopper Block’s recording classes; Block and Bates handled the mixing duties. “We picked 8 tunes and made sure we had great versions of those, and then added some pieces to the later sessions to round out the overall pacing and mood of the album,” said Bates. The bassist particularly praised the mastering by Huntley Miller. “Huntley took some fairly average sounding mixes and really gave them some life, and was able to subtly enhance a lot of the tones and colors of the mixes...Often you spend so much time mixing and the mastering just adds a little more to the project. But because we worked quite quickly on the mixes, Huntley's mastering had a much more dramatic effect on the end product and I think he did an amazing job.”
The final master yields five compositions from Olson, two each from Bates and Epstein, two Wayne Shorter covers, and a final track from Argentine folk/fusion composer/guitarist Carlos Moscardini. As a whole the compositions flow like a gentle river of sound, a suite of subtle acoustic and electronic experiments. Nothing explodes; there’s mutual respect among the musicians, none intruding on another’s space yet each listening, supporting, and seeking complementary movement.
Chris Olson’s quintet of compositions begins with the opening track, “Cullor,” with a relaxed Latin feel energized by Chris Bates’ dark solo. “Tipsy” uses a repeating motif that increases in complexity over the course of the track, dotted with some interesting, off-quadrant harmonies. Just when you think you’ll be lulled into a pleasant, ambient state of fuzzy-headedness, Olson issues a wake-up call with “TechTonic.” With an ominous bass line and peppery percussion, Olson plunges deeper into the sound lab, blurry effects turning single lines into chords and vice versa. Bells tinkle, doors creak open, metallic groans fill the air--it all resembles a conversation gone beserk. But Olson is not the only mad scientist--Bates simultaneously conducts his own investigations and Epstein issues fractured time commands. A dark turn comes at the five-minute mark, with more action from the drumkit, Bates moaning from the bottom of the bass, til a sudden flurry of melody closes it down.
On “Kaf,” classical strands meet electronica; Olson can be a one-man band, harmonizing with himself, but add in Bates’ bowed sensations and the relaxed intensity of Epstein’s percussion, and it rises far above fusionomics. “Kaf” flows directly into “The Rutles,” the melody line hinting at early Herbie Hancock, buoyed by Bates’ lush basslines.
Chris Bates is no slouch as a composer. “Yesterday’s Past” features ghostly sound effects from Olson’s guitar, and with Epstein’s cymbal sustains, creates the perfect underlayment for assertive, melodic bass soloing. Seamlessly, Olson and Bates trade roles, now Bates providing the undertones while Olson moves in pastel colors, a dancer rotating in concentric sound circles. On his “Solid/Liquid,” the bassist leads the way with agile phrases, bent notes, and buzzy chords. Epstein fills in the spaces with splash and sputter, and finally Olson enters to add his own mysterious lines. The trio moves in and out like the tide on a relatively calm sea, solid forms, liquid motion; Bates moves forward to bring them back to shore.
Two interesting contributions from Jay Epstein include “Giza, introduced with a few bars of percussion solo, then bass and guitar facing off (gently) in counterpoint against the percussion. Olson develops his figures in the higher register, creating anxiety and curiosity. “Orion” is appropriately celestial, a float through the constellations. Bates’ bass work provides an edgy gravitational pull, keeping the starship from merely drifting from port to port.
The arrangements of the three covers align well with the whole. Wayne Shorter’s “Valse Triste” is melodic and slowly paced, Olson displaying considerable patience in developing his lines. Bates unwinds a long solo while Epstein stays in the background, creating a clicky and continual wash of shimmery sounds. Shorter’s “Valse Quick” starts with a more urgent pace, Olson weaving his verse in more chordal fashion as Bates twists the lower lines, the two braiding a “quick” improvisation in under three minutes.
The last track, Moscardini’s “Camino de las Tropas,” finds dark bass and drums cooking up a vamp that suggests entering a haunted dance hall, making way for Olson’s exquisite, if restrained, guitar lines. Rhythmically it is the most interesting of the set, a subtle tango filled with cerebral as well as emotional twists. As such it is a fitting finale, seemingly drawing together all that we have heard, as if a symbolic sustained chord that echoes all previous tones.
Chris Bates summed up the recording: “I think that after such a long time playing as a band we didn't feel like we needed to say something huge about Framework. We just made a solid and satisfying musical statement. We cover a lot of stylistic ground but I think it has a very cohesive sound that reflects each individual and how Framework plays together.”
Personnel: Chris Bates: bass; Jay Epstein: drums; Chris Olson: guitars
GoneJazz 0902 (2009)
By Matthew Warnock – Allaboutjazz.com
Framework is a well-written and engaging modern jazz album featuring the Minneapolis based trio of bassist Chris Bates, drummer Jay Epstein and guitarist Chris Olson. The tunes on the album are a collection of original compositions written by the members of the trio as well as two Wayne Shorter tunes and the scarcely performed, but definitely deserving more attention, "Camino de las Tropas" by Carlos Moscardini. Every tune is creatively arranged in a manner that allows each member of the trio to insert their own unique voice into the pieces, while still maintaining a strong sense of ensemble throughout. Each member of the trio is at the top of their games on every melody and solo throughout the album. As the lead instrument, Olson steps up to the plate and delivers during every melodic interpretation, comping section and improvised solo. His work on Shorter's "Valse Triste" successfully walks the fine line of homage and imitation as he weaves his way through a solo that is at the same time a tribute to the great saxophonist and a personal statement on the tune itself. The rhythm section of Bates and Epstein are also in fine form as both accompanists and soloists. The time and feel is steady on every track and both musicians play with big ears that allow them to catch the rhythmic cues thrown at them by Olson, which only adds to the success of the ensemble. Bates' solo introduction to the tune "Solid/Liquid" is one of the highlights of the album. Channeling lines and phrases from the likes of Dave Holland and Eddie Gomez, Bates releases a barrage of exceptional runs that are the perfect lead-in to the dirge-like melody section of the piece.
One of the most unique aspects of the album is that is was recorded by the students of Chopper Black at the McNally Smith College of Music. The fact that McNally has students that can produce an album that is professional in both its sound and mix is a testament to the level of teaching and mentorship these students are receiving at the College. Every note on the guitar rings through crisp and clear, the mix of the drums is dead on and the bass is full yet never boomy. If the trio had not written this fact in the liner notes it would be impossible to tell that this recording was not made by experienced studio professionals.
Framework is a strong release for the trio of Epstein, Bates and Olson. The tunes are melodic and harmonically interesting, the solos are energetic and the ensemble interacts on the highest level. All of which come together to produce an album that is as entertaining as it is intellectually stimulating.
..........................................................................................
Framework CD Review – JazzPolice.com – by Andrea Canter (2009)
Self-titled, Framework’s first recording (on GoneJazz) has already been dubbed as “one of the best hometown jazz albums of the year” by Tom Surowicz (Star Tribune), “both cerebral and visceral, electric and acoustic, with sublime compositions, enviable empathy and a couple very cool Wayne Shorter covers.” About eighteen months in the making, the trio recorded at McNally Smith College with engineer Chopper Block’s recording classes; Block and Bates handled the mixing duties. “We picked 8 tunes and made sure we had great versions of those, and then added some pieces to the later sessions to round out the overall pacing and mood of the album,” said Bates. The bassist particularly praised the mastering by Huntley Miller. “Huntley took some fairly average sounding mixes and really gave them some life, and was able to subtly enhance a lot of the tones and colors of the mixes...Often you spend so much time mixing and the mastering just adds a little more to the project. But because we worked quite quickly on the mixes, Huntley's mastering had a much more dramatic effect on the end product and I think he did an amazing job.”
The final master yields five compositions from Olson, two each from Bates and Epstein, two Wayne Shorter covers, and a final track from Argentine folk/fusion composer/guitarist Carlos Moscardini. As a whole the compositions flow like a gentle river of sound, a suite of subtle acoustic and electronic experiments. Nothing explodes; there’s mutual respect among the musicians, none intruding on another’s space yet each listening, supporting, and seeking complementary movement.
Chris Olson’s quintet of compositions begins with the opening track, “Cullor,” with a relaxed Latin feel energized by Chris Bates’ dark solo. “Tipsy” uses a repeating motif that increases in complexity over the course of the track, dotted with some interesting, off-quadrant harmonies. Just when you think you’ll be lulled into a pleasant, ambient state of fuzzy-headedness, Olson issues a wake-up call with “TechTonic.” With an ominous bass line and peppery percussion, Olson plunges deeper into the sound lab, blurry effects turning single lines into chords and vice versa. Bells tinkle, doors creak open, metallic groans fill the air--it all resembles a conversation gone beserk. But Olson is not the only mad scientist--Bates simultaneously conducts his own investigations and Epstein issues fractured time commands. A dark turn comes at the five-minute mark, with more action from the drumkit, Bates moaning from the bottom of the bass, til a sudden flurry of melody closes it down.
On “Kaf,” classical strands meet electronica; Olson can be a one-man band, harmonizing with himself, but add in Bates’ bowed sensations and the relaxed intensity of Epstein’s percussion, and it rises far above fusionomics. “Kaf” flows directly into “The Rutles,” the melody line hinting at early Herbie Hancock, buoyed by Bates’ lush basslines.
Chris Bates is no slouch as a composer. “Yesterday’s Past” features ghostly sound effects from Olson’s guitar, and with Epstein’s cymbal sustains, creates the perfect underlayment for assertive, melodic bass soloing. Seamlessly, Olson and Bates trade roles, now Bates providing the undertones while Olson moves in pastel colors, a dancer rotating in concentric sound circles. On his “Solid/Liquid,” the bassist leads the way with agile phrases, bent notes, and buzzy chords. Epstein fills in the spaces with splash and sputter, and finally Olson enters to add his own mysterious lines. The trio moves in and out like the tide on a relatively calm sea, solid forms, liquid motion; Bates moves forward to bring them back to shore.
Two interesting contributions from Jay Epstein include “Giza, introduced with a few bars of percussion solo, then bass and guitar facing off (gently) in counterpoint against the percussion. Olson develops his figures in the higher register, creating anxiety and curiosity. “Orion” is appropriately celestial, a float through the constellations. Bates’ bass work provides an edgy gravitational pull, keeping the starship from merely drifting from port to port.
The arrangements of the three covers align well with the whole. Wayne Shorter’s “Valse Triste” is melodic and slowly paced, Olson displaying considerable patience in developing his lines. Bates unwinds a long solo while Epstein stays in the background, creating a clicky and continual wash of shimmery sounds. Shorter’s “Valse Quick” starts with a more urgent pace, Olson weaving his verse in more chordal fashion as Bates twists the lower lines, the two braiding a “quick” improvisation in under three minutes.
The last track, Moscardini’s “Camino de las Tropas,” finds dark bass and drums cooking up a vamp that suggests entering a haunted dance hall, making way for Olson’s exquisite, if restrained, guitar lines. Rhythmically it is the most interesting of the set, a subtle tango filled with cerebral as well as emotional twists. As such it is a fitting finale, seemingly drawing together all that we have heard, as if a symbolic sustained chord that echoes all previous tones.
Chris Bates summed up the recording: “I think that after such a long time playing as a band we didn't feel like we needed to say something huge about Framework. We just made a solid and satisfying musical statement. We cover a lot of stylistic ground but I think it has a very cohesive sound that reflects each individual and how Framework plays together.”
