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Benjamin Koppel: Art of the Quartet (Unit Records, 2020)

Benjamin Koppel: alto saxophone; Kenny Werner: piano; Scott Colley: bass; Jack DeJohnette: drums.

Danish saxophonist Benjamin Koppel possesses a wealth of talent and a huge skill set. He can play anything from soul, funk and R&B as evidenced The Ultimate Soul And Jazz Review (released as a sister companion album to the present collection) avant garde, and composed pieces. Art Of The Quartet his latest release on his own Unit Records is a stunning double disc exploring both free and more structured (but no less adventurous) playing with an equally stunning collective: Kenny Werner on piano, Scott Colley on bass, and Jack DeJohnette on drums. The group is truly a selfless collective for a variety of originals by Koppel, Werner, DeJohnette, Colley, a standard, and two sprawling free improvisations.

The rapport of the group can be traced back to several associations the saxophonist procured over the years, for example Koppel had played in a group with Kenny Werner, Scott Colley and Antonio Sanchez, and DeJohnette, always up for creative, exploratory music rounds out the project. There’s a particularly supple connection between the quartet that makes their interaction a joy to hear. Werner and DeJohnette had previously appeared with David Liebman on Fire (Jazzline, 2018), and the pianist’s own leader date A Delicate Balance ( BMG France/RCA Victor, 1997). There is a marvelous moment on the first disc’s pace setting “Free I” where the pianist’s abrupt, prodding, jabbing chords are perfectly complemented by DeJohnette’s stuttering, quaking accompaniment, redolent of a fish fighting to breathe out of water. Koppel enters with a searing late Coltrane ish tone and engages in thrilling four way dialogue, gradually evolving into scattered shapes where Koppel is emulating funk guitar figures and furthering the rhythmic role as he initiates an ostinato as a cue for DeJohnette to explode all over his kit. “Bells of Belief” is a composition by the saxophonist based on a piece of Gyorgy Ligeti’s that so inspired DeJohnette that a break in the session was called so that he could drive home and pick up a set of bells that would work for the tune.

DeJohnette makes creative use of the bells, their timbre similar to Tibetan singing chanting bowls and his own resonating bells that Sabian released over a decade ago. He opens the piece with shimmery, golden melodic tones that blossom into full throated chords. Koppel offers shades of Jan Garbarek with a deep cry, and as his solo builds over a rubato foundation, the conversation between he and DeJohnette recalls John Coltrane and Rashied Ali on Interstellar Space (Impulse! rec. 1967/rel. 1973). DeJohnette reprises “Ahmad The Terrible” from the classic Album Album (ECM, 1984) whereas the original dovetailed into a nice swing section, this fiery rendition takes on a see saw character.

After the first disc closes with the dramatic arc of “Free II” where the saxophonist tonewise hints at David Sanborn and Michael Brecker, disc 2 takes on a more structured song tact with Werner’s beautiful “Iago”. Koppel’s impassioned testimony is punctuated by DeJohnette’s interjection of reactionary ideas, and the drummer’s trademark half swung straight eighth note feel is broken up by massive fills during Werner’s intense statement. Colley rounds it out with a concise melodic statement carrying on the huge toned tradition of both Wilbur Ware and Charlie Haden. “Ballad for Trane” is a perfect example of how musicians can use the inspiration of the mood set by the classic John Coltrane Quartet without mere imitation, and the group smokes through a spirited “If I Should Lose You” replete with a bouncy Colley solo, and DeJohnette barreling through taking turns improvising with Colley. DeJohnette’s “One on One” originally appeared on Special Edition’s Earth Walk (Blue Note, 1991) and employs a similar compositional device that the drummer and pianist used on his classic “One For Eric” with a portion of the melody in half time before ramping up to explosive swing. Koppel soars over free time, Werner turns in some of his spikiest playing of the set and benefits from DeJohnette’s swing. To close the album, Werner’s “Sada” based on a chant from his ashram is a wonderfully reflective piece. Colley’s bowed E flat pedal point turning into a simple vamp and DeJohnette’s floating pulse bring the tune closer in feel to some of Keith Jarrett’s more ritualistic, groove driven pieces found on many solo concerts and the Standard Trio’s Changeless (ECM, 1987). In a way given Jarrett’s recent news of no longer being able to play due to two strokes suffered in 2018, though this Koppel quartet was recorded in March of 2015, it ends up being an unintended fitting tribute with the undeniable Jarrett tinge. Koppel’s playing here is glistening and transcendent.

Sound:

Recorded in March of 2015, Art Of The Quartet was recorded at Clubhouse Studios in Rhinebeck, NY a studio recommended to Koppel by DeJohnette. The recording, by Julie Last and Bella Blasko is an incredibly detailed, present recording. It is clear from listening that this was recorded live in the studio with a lot of close miking and subtle hints of reverb added, especially on Koppel’s alto for atmosphere. The sound of DeJohnette’s bells on a quality speaker like the Focal Chorus 716 must be heard to be believed. In particular when listening to the CD, there is a palpable sense of glow created by the harmonics of each bell,being rendered in rich detail. Colley’s bass is natural, gargantuan and full of woodiness, and Koppel’s alto, combined with the Schiit Modius DAC has scale, and an urgency.

Concluding Thoughts:

With Art Of The Quartet Benjamin Koppel makes a real statement. Though he has recorded a host of records with the biggest names in jazz, the fluency of this group with Werner, Colley and DeJohnette is as if this has been a working unit for years. While the music isn’t groundbreaking in terms of the next new thing, what it is, is chancetaking, inspired and taking full advantage of the moment. Koppel has one of the most distinct alto voices among a generation of contemporary players of a younger generation such as the rising Immanuel Wilkins, and perhaps the imminent most influential alto player of his generation, Miguel Zenon. Art Of The Quartet is simply, one of the best albums of the year.

Music: 10/10

Sound: 9.5/10

Equipment used:

HP Pavilion laptop

Yamaha RS 202 stereo receiver

Focal Chorus 716 floor standing speakers

Schiit Modius DAC

Sony Playstation 3 (for CD playback)