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It Could Be Anything
Loren Stillman | Fresh Sound New Talent

By John Kelman

Jazz fans seem to be constantly debating when

the best period for jazz was. That some believe
that now is unequivocally the worst time for a
genre now in its second century is puzzling.
The arguments most often heard have to do
with there being no
“significant†innovations, and
the predominance of high profile artists like
Diana Krall and Jamie Cullum overshadowing
more “serious†jazz artists.

Whether or not top-charting artists are serious is an argument for

another day. But it’s inescapable fact that jazz’s
marginalized position--at least in terms of CD sales--means that the
greater public’s perspective on jazz is largely defined by the
handful of big sellers like Krall, not to mention the predominance of
reissues from the major labels. Still, one need only look to the plethora
of independent labels to realize that jazz is hardly on its death bed.
It’s thriving and, if not seeing grand developmental leaps, there
are inescapable steps forward day-by-day, release-by-release. That a
twenty-something musician like saxophonist Loren Stillman can release
an album as mature, well-conceived and personal as It Could Be
Anything is clear evidence that creative jazz with a difference is still
being made and that it’s premature to be ringing its death-
knell.

It Could Be Anything is Stillman’s fourth release as a leader

since 1998, and if there’s anything more impressive than his
growth as a player, it’s his evolution as a writer. Some might
consider him too cerebral--there’s clearly an underlying
complexity to his detailed compositions that is rich grist for inquiring
musical minds. But analyses of his potent blend of irregular meters, vivid
counterpoint and abstract harmonies would be of little value if his music
didn’t resonate so strongly. Stillman’s impressionistic
bent may mean out-of-the-box melodic thinking, but despite that
he’s unfailingly lyrical. Some writers are oblique for the sake of
it, but it’s clear that Stillman wants his music to sing.

Bassist Scott Lee and drummer Jeff Hirshfield date back to

Stillman’s second release, How Sweet It Is (Nagel-Heyer, 2003).
The newcomer to the group is Gary Versace, more commonly heard
these days on organ in guitarist John Scofield’s touring band, as
well as with Indo-Pakistani guitarist Rez Abbasi and on his own debut,
Time and Again (Steeplechase, 2005). Here he’s strictly on
piano, and his abstract sense of musical suggestion is continued
evidence of a significant musical voice gaining ground at almost warp
speeds.

Stillman’s technique is formidable--making his alto sound

flute-like on the moody miniature, “Vignette: Ghost
Town†and evoking multi-hued multiphonics on the more
insistent and deceptively-titled “I Don’t Know What
We’re Doing.†But his tone, possessing a gradual and
gentle vibrato, remains warm and appealing throughout.

The quartet’s simpatico is clear, despite communication being

often so subtle as to be felt rather than heard. Feeling is, in fact, the
defining characteristic of It Could Be Anything, where Stillman proves
that it’s possible to create intelligently multi-layered music that
is emotionally compelling and speaks with its own voice.

Track Listing: Evil Olive; Noushka Foo; A Common Thread; Gnu;

Vignette: Ghost Town; Drawn Inward; Old San Juan; A Simple Phrase; I
Don’t Know What We’re Doing; It Could Be Anything.

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 http://www.allaboutjazz.com/php/review_print.php?id=20220

Personnel: Loren Stillman: alto saxophone; Gary Versace: piano; Scott

Lee: bass; Jeff Hirshfield: drums.

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