| Russell Schmidt (Photo provided) |
One of the
best aspects of the winter holidays is receiving greetings from old friends. And those greetings often
continue even after the echoes of "Auld Lang Syne" have faded away.So it was with particular
delight late last week when I arrived home to find greetings from Russell Schmidt, greetings in the form of
a package, that included the requisite and appreciated shot of his family, and both CD and vinyl copies of
his newest project.Though the former faculty member at Bowling Green State University and now director of
jazz studies at the University of Utah has been on the scene for several decades. This is only his second
recording under his own name.As with his 2008 release "Season of Change," this bears the mark of
the care and thought that such a sparse output would suggest.On "Anachromyticism," Schmidt
presents for the first time his own compositions, 10 pieces drawn from the span of his career with some from
the 1980s and a the title track that was hot from the printer when it was recorded. (The double LP version
switches out a longer version of one song and another composition in place of two of the CD tracks; the
digital download will contain all 12 tracks. Available at amp-recordings.com.)Regardless of the format, the
session shows a unity of purpose. Schmidt is a jazz impressionist, very much in the line of Bill Evans and
the more romantic side of the young Herbie Hancock. As the piano trio performances here attest, Schmidt
commands a swirl of colors from the piano.On most tracks on "Anachromysticism," though, he expands
his palette with two saxophonists Brice Winston, who local fans might remember for his performance here with
Terence Blanchard, and Eric Rasmussen, further emphasize how the tones in Schmidt’s compositions rub and
ring to create a shimmering sound.The composer favors medium and ballad tempos. On a the ballad
"Mediate" he demonstrates that delicacy and intensity are not mutually exclusive."Fortnight
With Ferguson" adds an understated backbeat for variety.Schmidt also engages in some free play with the
quintet. The performance of the title tune is an expansive 18-minute adventure that spreads over one whole
side on vinyl. It opens with a rolling, out-of-tempo rhythm that gradually tightens into a light swing.
Schmidt benefits here and elsewhere from the sensitive work of bassist Dwight Kilian and drummer Rob
Moore.Even at that length though Schmidt has a knack of maintaining the integrity of the composition’s core,
never letting the performances lapse into generic jamming.The added track "Warrant Piece" furthers
pushes the boundaries of freedom.The CD closes with two of the perkier numbers the aptly named
"Percolate" and the stop and go fun of "Freeze Tag." They serve to put an exclamation
point on the end of this impressive session of top drawer contemporary jazz.
