John Escreet -|- Don’t Fight the Inevitable – [Mythology Records, 2010] – Review
Pianist John Escreet presents his debut “Don’t Fight the Inevitable” as an open expedition which articulates his heartfelt compositions in the form of an immeasurable marriage of jazz and improvised music on a border-less picture produced by Escreet and David Binney on Mythology Records.
Escreet assembles a superb cast of distinguished players featuring co-producer/alto saxophonist David Binney, trumpeter Ambrose Akinmusire, also with rhythm keepers Matt Brewer on double bass and the cat with the jazzy beats Nasheet Watts plays drums.
At a first glance, for some reason I decided to examine the song listing before listening in which Escreet obviously deposited deep thought into writing these songs. For example: “Civilization on Trail” the opener … is as stunning as the title infers. Let’s for a moment consider the volatile state of the condition of the world today. Meaning … measuring depth with transparency in theory, Escreet exercises good judgment and ceases the opportunity to secure his position as a commendable composer/pianist to observe in detail what he’s capable of doing creatively.
“Don’t Fight the Inevitable” the title resembles the varied audible experiences that I’ve previously encountered. Artistically, this gem is daring, cunning and draped in a garment of spontaneity. Even more, Escreet courageously forgoes the invasive frequencies we often hear to employ the involved tones exemplified in the electronic voicings of “Soundscape.”
At the hub of “Magic Chemical (For the Future),” Escreet creates a lyrical cohesiveness that stretches the melody to entwine harmonic variations into the outer limits of improvisation. At the five spot, he justly pays homage to the legendary Charlie Parker with a tune suitably titled “Charlie in the Parker.”
The underlying theme of his innovative voice continues to surprise, Escreet pens an attractive piece comprised of the fibers embossed on a double-edged sword which is appropriately titled “Trouble and Activity.” In retrospect, he transports you through a string of untiring tempos to engage in a flawless tandem of effortless interplay executed by this talented ensemble.
An extraordinary voyage of improvised music is meticulously investigated and realized through the voice of John Escreet in the haunting timbre embellish on “Gone But not Forgotten” which features mentor/co-producer David Binney on saxophone. And lastly the infectious chemistry of “Avaricious World” is undeniably thrilling and artistically a remarkable ending to the session.
I’ll be the first to admit, I was virtually blown away by the zeal of acquiescent music embodied on this incredible project. As a result, I found Escreet’s intrepid play and arresting compositional style laborious and enjoyable. From my perspective, John Escreet is without question a genius born to create, play and explore the invaluable possibilities of playing jazz and improvised music at this altitude.
—Rob Young | The Urban Flux