Travis Reuter
Quintet Music (self-released)
Quintet Music (self-released)
Birds of Fire was the first Mahavishnu Orchestra album I ever heard. Two-thirds of the way through, I turned it off. That was close to two decades ago, so details are a little fuzzy. But I think I gave up around "Sanctuary" in large part because it felt like four out of the five musicians were playing the equivalent of 1-2, 1-2-3-4, 1-2-3, 1-2-3-4-5, 1-2-3, 1-2 in tandem and it just felt too rigid. And hyper. John McLaughlin fans will cut me some slack, I hope. My assessment is more metaphorical than literal. Besides I'm telling you that story to tell another one.
The fuzzy memory of Birds of Fire came back to me while listening to Quintet Music, the second album by Travis Reuter. No one, including this writer, will mistake the guitarist for a McLaughlin apostle, but he does write some particularly knotty compositions that divide his quintet into various sections, with bass and drums playing together in a choppy but taut manner, while tenor saxophonist Mark Shim, vibraphonist Peter Schlamb and Reuter himself play melodies or improvisations (or both, maybe) in front of them. There are times when the guitar and vibes shift to foundational support too. Shim frequently plays in the lower range, adapting his tone to the point where he almost sounds like he's playing a baritone.
Bassist Haris Raghavan has the herculean task of bouncing between the front line and locking in with drummer Tyshawn Sorey. A striking example of this comes in "Same Song," when he and Schlamb ever so briefly join forces and create a cluster that sounds like an old school pinball bumper being hit by the ball. Sorey, who often takes other composers' convoluted tempos and helps our ears make sense of them, almost does the opposite on this session. His parts sound busy, pushing hard against the rest of the group and often making it hard to latch onto the music.
There's no sin in writing or playing that way, of course. Tension can be fun. In "#13 F34," Schlamb begins by soloing over Reuter's ringing chords; by the end, they switch roles. "#9 Low/High 1" starts with a clear guitar line, which Raghavan echoes, while Sorey goes wild over. The piece, one of only two that go beyond the seven-minute mark, switches to a different setting after two-and-a-half minutes but returns to the initial part at the end.
Most of the pieces stay below five minutes; Reuter, Shim and Schlamb each also get an interlude with the rhythm section, all of them coming in under two minutes. The brevity proves Reuter doesn't try to overpower his band with too many ideas. "#8 D@z" keeps it single length (3:18) yet still manages to have Shim and Schlamb trade solos back and forth.
But "Fast Louis," which comes next, begins with little variation in terms of dynamics. It could be the same track. Granted, the whole piece (the other extended track) ultimately has more space instead of cramming it with caffeinated ostinatos and lines. Yet, the 10 tracks on Quintet Music starts to run together after awhile. Finding the subtleties between them requires a deep dive. Sorey's drums occasionally sound as if the depth of his parts isn't captured as clearly as it could have been, which might take away from the group. There were times when I wanted to see this band in person, to see how they bring this music together. That setting could bring out nuances that the speakers only hint at. It also makes me curious to hear Reuter's 2012 debut Rotational Templates, which utilized electric piano instead of vibes.
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