The description holds true for the latest edition of the bassists quintet and its album Into the Woodwork. Swallow leads the group including his longtime partner in music and life, Carla Bley, on organ in multi-hued performances of a dozen original compositions from his pen.
Recorded in the south of France, the album accommodates atmospheric grace and loping grooves, wry humor and understated virtuosity. Hushed opener Sad Old Candle reveals the subtle beauties of this band, with Swallow and Bley joined in ensemble intimacy by saxophonist Chris Cheek, guitarist Steve Cardenas and drummer Jorge Rossy.
From Whom It May Concern sees Cheek sing a sad-eyed melody on his saxophone, with a limpid solo from Cardenas to follow. Its Rossy to the fore in Back in Action, with his funky solos defining the track. Exit Stage Left begins with the ever-distinctive fluidity of Swallows electric bass a sound that has propelled the veteran to the top of the critics and readers polls in DownBeat year in and year out.
Into the Woodwork is jazz of character, with ingrained melody and warmth.
For one of the most acclaimed bassists of modern times, Steve Swallow is remarkably self-effacing. He composed all of these 12 pieces, but not one of them amounts to a real bass feature. His unmistakable trademark, though, is the sound of this band – agile and glancing, with beautiful, springy rhythms. At the centre of it is the remarkable Carla Bley, tying everything together with the merest wisps of harmony on the electric organ. The whole band, completed by saxophonist Chris Cheek, guitarist Steve Cardenas and drummer Jorge Rossy, play with rare fluency and ease.
Dave Gelly
