Julieta Eugenio
Jump
(Greenleaf) julietaeugenio.bandcamp.com/album/jump
Jump might be Julieta Eugenio's debut album, but it sounds nothing like the work of a beginner. The tone that emanates from her tenor saxophone almost immediately reveals a player with a mature, rich sound and a full arsenal of melodic approaches. As it turns out, this kid isn't exactly a kid after all. Born in Argentina, where she studied Jazz Performance, she has lived in New York City for nine years, attending the Aaron Copland School of Music at Queens College. Rather than rushing to release an album, she took time to make sure she had something to say first. The wait was well worth it.
Eugenio is all-business and ambition on Jump. That much is clear by her band's personnel. She plays in a stripped down trio with the equally fluid and inventive bassist Matt Dwonszyk and the catalytic drummer Jonathan Barber. That instrumentation requires a lot from all the participants. Everyone here plays with sharp focus that gives the music room to breathe but never lets things get too open. If the instrumentation evokes other tenor trios past - from Sonny Rollins and Joe Henderson to Melissa Aldana and, perhaps, JD Allen - that's a good thing. But Eugenio only has time to tip her hat to her tenor predecessors and peers before staking out her own territory.
Jump consists largely of originals by the saxophonist. "Efes" is marked by angular tenor lines, which lead to a solo where quick phrases alternate with extended ones that flow over several bars. Dwonszyk makes a bold move in his solo, quoting Monk twice - "In Walked Bud" closely followed by "52nd Street Theme." The act of quoting can be a slippery slope these days, but the takeaway here is how deftly the bassist squeezed (squoze, that is) both lines into small spaces.
Tenor and bass go it alone on "Crazy He Calls Me," one of two non-originals in the set. Dwonszyk's slow, sensual walking offers a great company to Eugenio's smoky delivery. "Flamingo," another chestnut, albeit not one that is usually brought up too often, brings Barber back into the fold, with what sounds like hand drumming giving the tune a slight bossa nova feel.
The remaining originals move in various directions, from the tense "La Jungla" (with a solid 6/8 bass ostinato) to the sensual "For You" (where Eugenio's phrases evoke a vocalist holding tight to a lyric) and they all make lasting impressions. It will be interesting to see what direction Eugenio takes on future releases and performances. Although the cover shot of Jump might make her look like she has pop star aspirations, her sound says otherwise. The confidence on display in her playing is clear, and will very likely net her some spots on some Year End lists.
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