Saxophonist Alex LoRe comes from the narrative side of the house, the place wherein Desmond and cats of ilk loved to dwell, where stories are told, but with a BIG exception: LoRe's mentor is George Garzone, who appears here on three cuts, and Dream House is being issued on Greg Osby's label. You know of Osby, right? Yeah, he and Steve Colby came from the still criminally underlauded Stata Institute and then went on to kick the bejeezus out of convention in solo and other endeavors. You can't say 'modern sax' without mentioning those two guys. We understand, then, that Osby knows from jazz, and his choice of LoRe as an imprint representative proves it once again. Dream House is a disc reconciling jazz's far side with its trad baseline in furthering a rare blend of obtuse literacy.
In the 70s, you had cats like Didier Malherbe, Elton Dean, Dick Heckstall-Smith, and others fusionizing things like mad, all of them deeply respectful of where their influences lay, but LoRe is more invested in the sort of sound that would have Eric Dolphy shaking hands with Gato Barbieri or John Coltrane sitting down with Klaus Doldinger. Fortunately, drummer Colin Stranahan and bassist Desmond White maintain a high form of pointillism that comps LoRe like a pair of sub-plots…until they step out for solos and take the ongoing novel on detours exploring offsetting, complementary, and underscoring colorations (especially when White starts bowing his instrument). This is a rhythm section of architects and embellishers.
When Garzone and LoRe double up, it's often enough a beautiful madhouse of notes flying all over the place, energies unrestrained, but also a reverie of melancholic ponderings meeting and diverging, philosophical and mediated, refined and disciplined. It's hard to believe the trio's as young as it is (and that it's only been together 3 years!) 'cause there are eons of thought going on here, recesses of aesthetics that usually emerge only with hard-won decades of wrestling with instrument and genre, let alone the entire idea of music. That's great news for us, though, as it means these gents will be around for many years to come, and I rub my hands in greedy anticipation of that. I mean, listen to what Alex does to Ellington's Tonight I Shall Sleep. The Duke himself will be listening from the clouds and smiling while thinking "Man, I didn't even know that stuff was in there!". It's that kind of a CD. Cool cover art by Derek Lucci, too, a wry twist on the album's title.
Edited by: David N. Pyles
Copyright 2014, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.
Website design by David N. Pyles