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Review

Patrick Cornelius

Infinite Blue

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by Ian Mann

September 22, 2013

/ ALBUM

A classy and sophisticated offering with some excellent playing from a top notch core quartet.

Patrick Cornelius

“Infinite Blue”

(Whirlwind Recordings WR4637)

“Infinite Blue” represents the fourth album as a leader by the American alto saxophonist and composer Patrick Cornelius., its predecessors “Lucid Dream (2006), “Fierce” (2010) and “Maybe Steps” (2011) are reviewed elsewhere on this site. Like “Fierce” the new release appears on Whirlwind Recordings, the label founded by Cornelius’ close musical associate the Wisconsin born, London domiciled bassist Michael Janisch.

Raised in San Antonio, Texas but now based in New York City Cornelius studied at Berklee College of Music in Boston before moving on to the Manhattan School of Music in New York.  His writing skills resulted in him winning the ASCAP Young Jazz Composer of The Year award three times running in 2005, 2006 and 2007. Currently he is the recipient of a Chamber Music America New Jazz Works Award and is working on a composition for nonet entitled “While You’re Still Young” which will be premi?red in December 2013. The performers will include trumpeter Jason Palmer, pianist Gerald Clayton, guitarist Miles Okazaki and drummer Kendrick Scott.

I first encountered Cornelius’ playing back in 2009 at a show at Dempsey’s in Cardiff by the Transatlantic Collective, a quintet convened by Janisch and featuring musicians from the US, UK and mainland Europe. Cornelius and Janisch have a long standing musical relationship and the bassist is present and correct on this record alongside pianist Frank Kimbrough and drummer Jeff Ballard, an all star line up if ever there was one. Kimbrough is the regular pianist in the various bands led by composer and arranger Maria Schneider and is also an acclaimed educator with a faculty position at New York’s Julliard Music School. Ballard is probably best known as a member of pianist Brad Mehldau’s trio and as one third of the collaborative outfit Fly but he is also a prolific sideman with many recording credits to his name.
“Infinite blue” also features a guest appearance by trombonist Nick Vayenas who attended Berklee with Cornelius back in the 1990’s and has been a regular collaborator ever since. The trumpet of New York based Mike Rodriguez graces three cuts with pianist John Chin replacing Kimbrough on the closing piece, “Projection”.

Cornelius’ music is rooted in bebop but is also fully informed by more contemporary musical developments. He is inspired by other alto players, most notably Charlie Parker, but tenor greats John Coltrane and Sonny Rollins also exert a considerable influence. As one would expect from a musician of his generation Cornelius is also fully attuned to the world of rock and pop and cites Peter Gabriel as a particular favourite. Cornelius has drawn from this sphere on his previous recordings but the influence is less obvious on “Infinite Blue”, this new release is primarily a classy, intelligent and occasionally challenging jazz record..

Cornelius’ compositions are habitually inspired by personal experiences and life events. Each tune on “Infinite Blue” is accompanied by a semi cryptic comment that gives some hint as to the inspiration behind the piece. Of the opener “Regent Street” Cornelius remarks “Nothing makes the man quite like a sharp pair of shoes” and the music itself is suitably snappy and sassy, full of bustling bebop style alto with the leader’s assured and fluent playing backed up by some crisp rhythm section work. A typically propulsive Janisch bass line drives the piece and the always imaginative Kimbrough turns in the first of many fine solos. Visiting trombonist Nick Vayenas impresses with the agility of his solo and there’s something of a feature for drummer Ballard, his playing throughout striking a good balance between power and precision. 

The comment relating to the title track “A man, a plane, a pencil, a window seat”  references the in flight Cornelius jotting down a melodic fragment inspired by the view out of the aeroplane window.
He subsequently developed the piece taking the title from one of his three year old daughter’s crayons labelled “Cielo Infinito”. It’s a less frenetic affair than the opener, a highly melodic piece featuring the warm blend of the leader’s alto and guest Michael Rodriguez’s trumpet. Kimbrough’s lyrical solo is underpinned by Janisch’s self satisfied bass growl. The solos of Rodriguez and Cornelius probe gently and intelligently with Ballard’s neatly detailed drumming also a constant source of interest and delight.

“Waiting” is presaged by a dramatic solo bass introduction from Janisch. The tune itself is closer to a true ballad as suggested by its byline “She sits alone, staring out of the window, waiting for him”. This time there’s a rich blend of horns with Cornelius, Vayenas and Rodriguez gently combining ahead of a suitably yearning solo from the leader and another example of Kimbrough at his most lyrical. 

” Puzzler” is described enigmatically as “Four, then Four again, then Three. Rinse and Repeat”. It’s fast moving and boppish with a nod in the direction of Ornette Coleman. The three horns again come together to good effect albeit this time in far more lively fashion and there are bravura solos from Rodriguez and Cornelius plus a drum feature for Ballard. 

Unfinished Business” comes with the byline “A boy sets off on a new adventure in a strange land. A man returns , tired and weary, but resolved, determined and at peace”. The music is appropriately episodic with Vayenas filling out the sound on trombone and demonstrating his gentler side on his solo. Kimbrough’s solo is suitably expansive and Cornelius explores with his customary intelligence.

“In the Quiet Moments” takes as its premise “The thoughts, desires, hopes, and worries pass by overheard like birds in the distance”. There’s an appropriate serenity about the music, a zen like calm imbues Cornelius gently reflective solo, the support from his colleagues deliberately sparse, simple, sympathetic and undemonstrative. Kimbrough’s gently flowing solo stays true to the mood of the piece with Janisch’s and Ballard’s spare accompaniment totally in tune to the pianist’s sensibilities.

Cornelius dedicates “My Green Tara”  to the Buddhist goddess who “Compels me to create, think and achieve” and was commissioned by the Rubin Museum of Art and The National Jazz Museum in Harlem. It’s a suitably optimistic sounding piece with lightly soaring alto, a propulsive Janisch bass line and crisply creative drumming from Ballard. Kimbrough’s solo sounds positively joyous and there’s some thrilling dialogue between Cornelius and Ballard in the tune’s closing stages.

The closing “Projection” was written by pianist John Chin who replaces Kimbrough on this track only. Cornelius thanks Chin “for writing such a beautiful Melody” and describes the tune thus -  “Reflection, Patience and Introspection are kingly virtues”.  Chin has indeed written a lovely tune to which the rounded tones of Vayenas’ trombone add an extra warmth. Chin takes the first solo and immediately impresses with his lyricism and inventiveness. He’s followed by Vayenas on trombone Cornelius on keen toned alto. Janisch’s resonant bass undertow and Ballard’s quietly creative drumming are also significant factors in the success of the piece.

“Infinite Blue” represents another strong offering from Cornelius and although little fresh ground is broken it’s a classy and sophisticated affair with some excellent playing from a top notch core quartet. The three guest artists also make substantial contributions and overall the album is a worthy addition to the Cornelius/Whirlwind discography.

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