The Vintage Modernists -- Cityscape –MP3– [The Vintage Modernists, 2012 | Review] –
As we converge with the consonance of unique sounds of jazz, they leap forward into uncharted territory in this universal soundscape. Often times, it seems that musicians channel these ideas with a concoction of mainstream rhythms, beats, off-centered patterns, programming tools, knotted textures and melodically complex tones produced by an array of contrasting voices these days is truly a learning experience to behold.
At this juncture, I’m ecstatic once again to discover an eclectic new voice in post-modern jazz era. You know where musicians gravitate to their childhood influences and mesh them with a range of alluring sounds from places like the Rockies to the insecurity and challenges of the concrete jungle of LA to form a new voice The Vintage Modernists and their intriguing new project titled “Cityscape.”
Hailing from the majestic yet stunning beauty of Rocky Mountains West, the esteemed voices of Daniel Weidlein (saxophones, EWI, effects), Erik Miron (guitar, effects), and Cameron Hicks (drums) gather to articulate their intricate voice in the broadening body of jazz. They’re currently based in Los Angeles, CA not to take anything away from the enchanting Rock Mountains West, LA offers them a more diverse venue to emboss their indelible signature to a wider audience.
Accomplish musician, composer and saxophonist Daniel Weidlein the leader of the trio at 21 expresses himself effectively through the warm-steel reminiscent of another horn player name John Klemmer on the opening piece fittingly titled “Wyoming Sun.”
As jazz enthusiast, let’s get right to it we tend to be rude to new artist emerging on the scene. However, TVM is a prime example of young voices coming together to speak eloquently with distinct expressions with an unexpected combination of instrumentation by in large through the linage of their own creative voice on saxophone, guitar and drums. No, that’s not the usual formula to attract listeners to involve themselves with sumptuous rock melodies which in this case collates well within the framework of odd-metered jazz textures layered piece by piece to shape this unassuming template of songs like “Stillwater Valley, Pathetiques – Part 1 and Cityscape” all three are integral and significant to this offering.
As usual, I’m enthralled with meeting surreal sounds you know the one that dwells in the harbor of beauty that contains symmetrical lines and tones that aches with passion on the translucent “East River Photograph.” In a sense, the underlying message here envelopes the sentiments where pure and mysterious emotions are divulged to beckon the listener for a few more spins.
Meanwhile, as a listener the elements employed on “Open Road” expands their interplay to even the playing field compositionally for this talent cast. As a unit, their creative spirit prevails as the free-flowing energy among themselves elevate their intimate voices generationally as soloist, and composers. The canvas on this engaging twelve song palette is immersed with a collection of original, organic and rock influenced gems wrapped in a conduit of experimental textures outlined with the sobriety of a mature jazz musician.
In reality, chances are “Cityscape” want fit your father’s idea of what a trio jazz album should sound like. In essence, it warms my soul when artist like The Vintage Modernist utilize their own ideology to encompass similar shapes, tones and artifacts suitable for exchanging ideas by their forefathers in this body of work to cultivate it in fertile ground tied to the homage and emotional ties paid to the Rocky Mountains West. Therefore, I’m excited with the remaining tracks available on this album and also about the future for this group. Perhaps there’s more to come, as they learn, work and personalized a unique and uncluttered soundscape and defied the odds with their own charismatic voices in the frame of their debut titled “Cityscape.” —Rob Young | Urban Flux Media