JAZZ REVIEW : Entrancing Mix of Styles Marks Abrams Premiere

The two long pieces that composer-pianist Muhal Richard Abrams premiered Friday at the Cal Arts Modular Theatre were “free” in the broadest sense, roaming 20th century classical and new music styles as well as the jazz and blues traditions. The seemingly contradictory fact that this freedom was carefully orchestrated was apparent from the reams of sheet music set before each member of his performing quintet.

But it was just this imposed order, with its constantly shifting array of moods and tempos, that made the music so entrancing. Abrams, a founding member of the Assn. for the Advancement of Creative Musicians, has long advocated new forms of music based on jazz traditions, writing for big band and small jazz ensembles as well as chamber groups and symphony orchestra.

While recent recordings by Abrams, the New York-based artist who was making a rare West Coast appearance, lean heavily on the blues for their foundations, these pieces displayed a wider stance, shuffling between marches, funk, walk and floating tempos. Various combinations of the six musicians gave the pieces a wide textural range, and the inclusion of prerecorded synthesizer passages at the close of each number gave the music a thoroughly modern framing.

Without the anchor of easy lyrical or melodic hooks, Abrams imparted focus by emphasizing rhythmic drive and by utilizing soloists with a knack for creating eclectic but eminently traceable story lines. Foremost among that group was trombonist George Lewis, whose tonal variations and aggressive attack spoke to the pace and puzzle of contemporary life.

Trumpeter Wadada Leo Smith worked from a more settled, spiritual position, playing calmly in the face of even the most stormy accompaniment. Drummer Reggie Nicholson and bassist Bradley Jones not only provided the glue that held the various moods together, but soloed with the same purpose and tonal consciousness as the front line.

Still, Abrams was the most rewarding improviser. His low-register rumblings on the opening number “GLMBR” (taking an initial from each member of the group) suggested stride and boogie before embracing the atonality of Bartok and Schoenberg. On his “Over the Same Over,” he integrated a compendium of emotions while keeping the shifting rhythmic flow navigable. Both as pianist and composer, Abrams proved expert at interpreting both the joys and uncertainties of modern life.