Steve Lehman

Progress in music requires progress in our methodologies in writing about music. Certain vocabularies and methods of comparison that were adequate for writing about jazz in the past are no longer efficacious, or desirable.

For one thing, the notion of linear progress and progression in so-called jazz music has been a myth for some time now, as long as 50 plus years depending on who you ask. As the field of influence for improvising musicians continued to widen over time, it made less and less sense to insist upon clear lineages and predecessors. All of this is worth mentioning as an introduction to a review of Fieldwork's new album Door, because the music doesn't fit neatly into any preconceived box or precedent, so we have to approach it with a right understanding of methodology in order to convey at least some of its essence.

Fieldwork has had more than one lineup, but as of this writing, the lineup is Vijay Iyer, Steve Lehman, and Tyshawn Sorey. The previous two albums have only Vijay Iyer in common, and the previous release has both Lehman and Iyer - to my ears and understanding, Sorey is a natural progression and fit for the band and its concept, and I hope this lineup stays intact for future efforts. Door's street date is April 22nd, the same day as Vijay Iyer's new quartet record, Tragicomic, and Fieldwork is scheduled to play an album release show at Joe's Pub on May 31st.

Door is a truly collaborative effort, with each musician contributing compositions: six by Tyshawn Sorey, three by Vijay Iyer and two by Steve Lehman. The group feel is emphasized no matter the composer, with each musician sharing rhythmic and melodic duties and layered interplay that defies the basic traditional roles if each member's instrument. Sorey and Iyer have a particularly strong rhythmic connection and rapport throughout, with some incredibly tight and telepathic improvisatory passages. As I've come to expect from a certain group of musicians, the line between improvisation and composition is blurred throughout Door, reflecting a strong affinity with processual predecessors in the AACM and elsewhere.

It's interesting to note that given the change in lineups for all three of Fieldwork's albums, this recording sounds like a logical continuation of the band's ethos from the past two records. Sorey leaves a distinct mark on the album, both compositionally and with his incredible musicianship. Given Sorey's take-no-prisoners chops and abilities to tackle any rhythm or polyrhythm, his own compositions downplay his own instrumental abilities in favor of examining permutations of themes, and a more minimalist angle than both Iyer and Lehman's writing. Sorey lays down some positively sinister beats and fills throughout the album, summoning John Bonham as often as any other easily identifiable influence. Although I haven't heard it myself, I'm told that the writing here is consistent with what Sorey did on his first solo album That/Not, a record that I really need to pick up after hearing his compositions on Door.

I'll tell you what Fieldwork is not: it's not your grandpa's jazz, it's not free improvisation, it's not a postmodern hodgepodge or pastiche, and it's not light listening. It's much more difficult to say what exactly it is. It certainly reflects the unique musicality of the three participants, and the singular alchemy that occurs when the three of them come together. There is no shortage of risks taken, and the music reflects this with occasionally thrilling results. The end product is diverse but coherent, varied but focused. It certainly sounds like the vanguard of the music that I pay attention to, and as such it should come as no surprise that it's on Pi Recordings, a label that continues to put out the most consistently interesting music of any label I can think of.

This is very challenging music - it's an album that in my multiple listens required undivided attention to get a feel for what was going on musically. If that kind of affair is your bag, then you will find Door a highly rewarding collection of music.

When I heard about the lineup for this album, I was already intrigued. Featuring Steve Lehman on alto sax, Jonathan Finlayson on trumpet, Chris Dingman on vibraphone, Drew Gress on bass, and Tyshawn Sorey on drums, it appeared to be a collection of ambitious young players with emerging reputations and already developing unique voices on their respective instruments.

Some I was more familiar with than others - Steve Lehman's reputation preceded him as both a scholar and a musician, as I was familiar with his scholarly writing and with his playing in Fieldwork as well as on a Liberty Ellman recording. I was also familiar with Drew Gress in a variety of settings. I had heard wonderful things about Mr. Finlayson's trumpet playing, and similar endorsements of Tyshawn Sorey's drumming. Chris Dingman was new to me, but as I have mentioned before, I'm a sucker for the vibraphone so I welcomed his presence.

Provocatively titled On Meaning, the music comes across as kinetic, complex, and dense (Mr. Lehman's publishing company is aptly titled Density Music) while retaining a buoyancy and openness that contradicts the typical associations with music described as complex or dense.

It's a quality that I've noticed more often in music I've been listening to - I'm not sure if it's my own listening habits or perception changing, because in the past I would have described myself as someone who didn't particularly enjoy music that I would have tended to describe as complex or dense, at least compositionally. I think I shied away from music that I felt was overly flashy in terms of chops, a belief that musicality was being sacrificed for technicality.

None of these concerns cross my mind listening to this recording, which avoids all of these pitfalls by remaining utterly musical to my ears. Part of this has to do with the masterful mixing and mastering, which I see was done by Liberty Ellman, which affords each instrument its own sonic space. The other part has to do with the obvious interaction and sensitivity with which each of the musicians displays throughout the proceedings.

There are obvious precedents to Mr. Lehman's own playing and compositional style, none of which are worth mentioning because he ends up in unique territory.

All of the musicians that I looked forward to hearing on this recording are fantastic. Tyshawn Sorey is revelatory on the drums and I'm looking forward to picking up his new record on Firehouse 12. He shows an awareness of not only jazz, but also more modern rhythmic patterns found in drum and bass music, which he incorporates tastefully and with a powerful propelling effect. Chris Dingman is fantastic throughout, providing incredible support as well as producing some great solo passages. Finlayson proves himself to be an agile player with really beautiful tone, especially on Check This Out and the title track On Meaning.

There's a cohesiveness to the sound and feel of the 8 tracks on the album that lends itself to a sustained listening experience. It's the kind of album that will make me go back and listen to Steve Lehman's previous albums so I can trace the progression and see how he got to this place musically. It's also worth mentioning that this is yet another stellar recording from Pi Recordings, a label that I'm now developing a trusting relationship with. I haven't picked up a bad Pi release yet, and this recording only furthered my sense that they put out quality music.

A great recording from a great band - I wish I could see them live in the near future. Maybe someday.