The Phenomenal
Release Date: July 5, 2024
Label: Mother Brain Records

The Phenomenal is saxophonist and composer Michael Eaton's third album as a leader and it features Brad Whiteley (piano), Daniel Ori (bass), and Shareef Taher (drums).  In the wake of the Covid pandemic, Eaton felt an urgency to bring together three musicians with whom he had been working before and during lockdown: Tim Hagans (trumpet), Dave Scott (trumpet), and Judi Silvano (voice).  When a live recording proved ultimately unworkable, a plan crystallized to document the band's latest music over two studio dates in the last quarter of 2021. 

The first session pairs Individuation with a remarkable trumpet duo, Tim Hagans and Dave Scott.  Two trumpet recordings are all too infrequent in jazz, but The Phenomenal captures the first time meeting and studio encounter of Hagans and Scott.  Eaton remarks, "I have had the great fortune of making music with and learning from both Tim and Dave, and I had a feeling their 'different yet the same' approaches would generate sparks in the studio.  I'm thrilled that we could document their invention and musical chemistry." 

Hagans is front and center on the electroacoustic drum-n-bass jazz of "Imagination and Understanding," an homage to Eaton's interest in Hagans' innovative Animation/Imagination for Blue Note Records in the late 1990s, but also to Immanuel Kant on imagination and free play.  Framed by Whiteley's synth, the piece loops a twelve-tone bass line with muscular solos from Hagans and Eaton.  With his characteristic beam of trumpet sound, Hagans unleashes a rapid-fire chromatic solo with cutting clarity.  Hagans is also heard to great effect on “Parallax,” inspired by the technique of parallax scrolling in 2D video games, where a background moving slower than the foreground (i.e. layers of different speeds) generates the illusion of depth.  This is translated musically into layers of rhythms and a looped, motivically-driven melody that slowly reshapes itself. 

Scott's darker-hued sound and quicksilver, serpentine lines are exemplified in “Kansas City Counterpoint,” a twelve-minute meditation on Eaton's roots.  "Dave is from Kansas City, Missouri, and so am I.  Musically I was taking inspiration from Steve Reich's 'Electric Counterpoint' - the original Nonesuch recording features one of Dave’s teenage friends, KC native Pat Metheny - but moreover Reich’s 'New York Counterpoint.'  In terms of counterpoint, there is a lot of interplay and layering of rhythms."  Scott’s solo arrives halfway through the piece’s four different rhythmic domains, soaring around, over, and through the modal landscape.

"Multiple Worlds" features the Hagans/Scott team again but originated in 2006 during Eaton's years in Bloomington, Indiana. After a prismatic melody and saxophone solo, a twelve-tone vamp uncoils in the second half.  Scott and Hagans immediately dive in, holding a summit-level conversation and finishing each other’s sentences.  "I was thinking of tunes from both players which were very chromatic, ambiguous, or had twelve-tone elements, like Tim's tune 'Space Dozen'.  I had a sense this tune was their legerdemain, perfect for them.  It was thrilling to hear them be themselves in real time in that atmosphere.”

“Blues and the Phenomenal Truth” finds the septet converging on a blues, giving everyone a chance to improvise on common ground.  After an open, intervallic head moves into a mixed meter contrapuntal vamp, the players take turns on the tune’s cyclic changes. "The title is a tongue-in-cheek reference to Oliver Nelson's 'Blues and the Abstract Truth'.  I never particularly knew what that meant, but it didn't matter; it was fun for one, but it was a poetic device to evoke imagination and contemplation.  I thought about the title 'Blues and the Nominal Truth', but then 'Blues and the Phenomenal Truth' had an intuitive ring to it."

Recording session two features the final guest of honor, Judi Silvano, with whom Eaton had been improvising in NYC-based flutist Cheryl Pyle's Beyond Group, a free improvising chamber group.  "Thanks to Cheryl's organizing, we did a lot of improvising online during the pandemic on Zoom," Eaton says, "and it became a real musical outlet during a time when we couldn't leave the house.  Therefore, it felt natural to highlight Judi's artistry.  She has an organic, spontaneous melodic conception that is a pleasure to interact with.  In more extended and sonic territory, she has a refreshingly playful spirit." 

Silvano's presence is keenly felt on Altarpiece No. 1, written for the Hilma af Klint painting of the same name and inspired by Eaton's 2019 visit to the Guggenheim's af Klint exhibition.  Over a melody harmonized with bitonal chords, the soprano voice and soprano saxophone resonate with an expressionist ambiance, shifting next to a twelve-tone contrapuntal interlude that builds to a free improvisation with piano, voice, and saxophone.  "There were two objectives here.  One was to reflect or transmit something of Hilma's thinking via my musical voice.  And second, to capture the chemistry in those Beyond Group sessions.  I think we were successful on both counts.”

Silvano’s soprano blends like a horn with Eaton and Scott on “Kansas City Counterpoint”, offsetting Ori's additive bass line with digital punctuations.  “I was thinking of Joe Lovano’s Universal Language ensemble with Joe, Tim Hagans, and Judi,” Eaton smiles.  A rich lyricism adept at thinking on its feet pervades Silvano’s improvisation, with her wordless narrative escalating to abandon over Coltrane-like thundering accompaniment.

The sole quartet tune and album opener, “Folk Song” is an odd meter minor melody tapping into the quartet's near-decade-long chemistry.  Shareef Taher takes the reins immediately with a frame drum-like solo using hands on the snare drum, but the environment opens out onto an expansive 5/4 vista for solos.  Brad Whiteley exhibits the clarity as a soloist and dynamism as an accompanist that show why he is in such demand as an NYC professional, and Daniel Ori upholds the ostinatos with a soulful sensibility tinged with years of folk and groove music. 

So The Phenomenal emerges as a portrait of an ensemble organically moving toward a sound of its own.  "We live a postmodern internet world with vast quantities of information available at any time.  I surely love the whole history of the music but never wanted to be strictly beholden to that.  The history - actually histories, plural - of jazz are our tools and raw material.  I want to use the tradition; I don't want it to use me.  My individuation will be the product of trying and doing hopefully many things musically.  Without a doubt, making integrated, unified statements is a high artistic goal and one that will never go out of style.  I like having multiple worlds on one recording, and I venture to say that this reflects something of the world as it is today.  In order for jazz to be a living and evolving music, we need, at least to some degree, to remain open to the world and to change."

Dialogical
Street Date: May 3, 2019
Label: Destiny Records

Dialogical is Michael Eaton’s sophomore release with Austin, TX-based label, Destiny Records and expands upon the mature, individualistic sonic vision put forth on his 2015 debut recording, Individuation. While that album featured saxophonist and NEA Jazz Master Dave LiebmanDialogical is augmented by Lionel Loueke on guitar and vocals. Alongside Eaton on tenor/soprano saxophones is his long-time ensemble consisting of Brad Whiteley on piano,  Daniel Ori on bass and gimbri and Shareef Taher on drums. Also featured is Jon Crowley on trumpet, James Brandon Lewis and Sean Sonderegger on tenor saxophones, Cheryl Pyle on flute, Dorian Wallace on piano, Brittany Anjou on vibraphone and gyil, Enrique Haneine on udu and Sarah Mullins on marimba and triangles. With an emphasis on rhythm and texture, Dialogical fuses modern jazz, minimalism, and world music.

Delivered with a certain flow and commonality between all parts, the music heard on Dialogical serves as a presentation of vivid originality. At once, the title refers to the notion of hybridity as articulated by Mikhail Bakhtin, the mid-20th century Russian literary philosopher. Bakhtin suggested that any utterance, whether linguistic or gestural, involves “appropriating the words of others and populating them with one’s own intention.” Reflecting upon this hypothesis, Eaton explores a fusion of jazz as well as the textural and temporal aspects of post-minimalism – “I’m thinking about how the minimalist canon might provide a different way of looking at the overlapping or looping rhythmic cycles that are utilized in modern jazz by people like Steve Coleman, Dave Holland and Chris Potter.” Helping him succeed in the process is the assemblage of this personnel who, in Eaton’s admiration, bring a diverse array of personalities to the cause. United through a shared perspective, the group gives Eaton the opportunity to add to the pool of raw materials upon which he draws, in constructing his own, unique hybrid conception – “I want to interface different styles, to see how they all reflect different parts of me – how they give me an opportunity to play with these people.”

Dialogical opens with “Juno” – a long form tune inspired by Chris Potter’s writing on the albums Gratitude and Traveling Mercies. Here, Eaton deploys Loueke’s voice to wonderful effect on the theme-statement. Broken-up chromatic phrases of “Aphoristic” evoke a Thelonious Monk meets M-BASE quality, while “Cipher” is reminiscent of Osby’s 1990s oeuvre. Carrying through on the “jazz-minimalist-world music convergence”, Eaton incorporates Brittany Anjou’s gyil (Ghanaian xylophone) and vibraphone as well as Enrique Haneine’s udu on the West African-inspired title track. Amidst the kinetic quartet tracks, Eaton interpolates “Thanatos and Eros” and “Machinic Eros”both unpremeditated, tabula rasa duos on which he intertwines his serpentine soprano saxophone voice with master flutist Cheryl Pyle, a frequent partner in recent years, not only in the duo space, but in open encounters with such modern masters as the late harmolodic guitarist Bern Nix, saxophonist Daniel Carter, drummer Newman Taylor Baker, and pianist Roberta Piket.

The proceedings conclude with a primarily through-composed four-movement suite that Eaton describes as a classical chamber ensemble piece, scored for Anjou on vibraphone and bowed vibraphone, Pyle on flute, Crowley on trumpet, Whiteley on piano, Dorian Wallace on piano and prepared piano and Sarah Mullins on marimba and triangles. “It’s a homage to Steve Reich and the Sextet/Octet genre he’s written in — that language, my ideas,” Eaton says. “The movements are structured around how I handle rhythm, which I want to complexify or to change over time. By the last movement, I’m using 12-tone rows and structuring chords in various instruments from notes in the row.”

Through its title, tunes and personnel, Dialogical interrelates a diverse musical palette, and aims to communicate such to its audiences in various ways.  Regarding this record as just a mere stepping stone in unfolding his dynamic compositional style, Michael Eaton is proud to unveil this recording as something exquisitely fresh and creative.

For: Dialogical

JEROME WILSON
ALL ABOUT JAZZ
"Saxophonist Michael Eaton covers a lot of ground on this CD, using several different configurations of musicians in a program that encompasses angular, funk-laced fusion, airy sax and flute duets, a multi-saxophone workout and minimalism in the Philip Glass style."  Read the full review here.

MARCO CANGIANO
NEW YORK CITY JAZZ RECORD
"The tunes tend to be quite structured, yet leave ample space for the soloists. The material is varied both in terms of instrumentation and inspiration." Review here

DAVID WHITEIS
JAZZTIMES
“The dialectic between group cohesion and individual expression results in an appropriately paradoxical tension between thematic continuity and fluidity. ” Read the full review here.

TROY DOSTERT
ALL ABOUT JAZZ
“A saxophonist and composer with uncommon ambition, Michael Eaton seems to recognize no limits whatsoever on his craft. He's played in virtually every style imaginable”. Read the full review here.

GEORGE W. HARRIS
JAZZ WEEKLY
"Lots of successful ideas that never overstay their welcome." Read the full review here.

MATT MICUCCI
JAZZIZ
Read The Week in Jazz piece here.

FILIPE FREITAS
JAZZ TRAIL
"Dialogical is revelatory of Eaton’s compositional capacities. It comes full of appealing ideas, including a minimalistic chamber work and mind-bending structures and variations that confer it a triumphant, fresh spirit." Read the full review here.

DAVE ROGERS
WTJU
"These performances are fascinating and often delightful." Read the full review here.

DANIELE CAMERLENGO
SUONO
Italian review here