The fourth release from Chicago bass clarinetist Jason Stein's Locksmith Isidore, a trio with Jason Roebke on bass and New York drummer Mike Pride, playing modern creative jazz with a twisted melodic sense through Stein's original compositions, alongside one collective comoposition and John Coltrane's "26-2", a great example of 21st century jazz.
Format: LP Condition: New Released: 2018 Country: USA Packaging: LP Recorded at Electrical Audio, in Chicago, Illinois, on July 15th and 16th, 2017, by Nick Broste.
"Walden's Thing" is written for Detroit saxist/bandleader Donald Walden, with whom Stein studied at the University of Michigan. Stein wryly explains of the tune: "as a strict bebop linguist, Donald would have hated it, but with a smile, which makes me happy." On another tune, "Eckhardt Park," Stein pays tribute to his west loop woodshed in Chicago during a time when he could be seen serenading the traffic in front of the Dan Ryan Expressway. He'd hop the fence near his home and strengthen his sound, playing his way AND the highway. Pride's mallets are particularly pugnacious on "Walden's Thing" and the abstract tone poem "Ida Like," which was inspired by Stein's late great aunt and his four-year-old daughter who share the same name. Roebke's arco shavings, assorted creaks, strums and pings are a whole other trick bag from his broad willowy swing. The atmospheric concoction conjures Ida, Alice-in-Wonderland-like, picking a lock herself. "Sternum" is further fodder for the textural ingenuity of the trio. Stein lays in back with muted, quizzical longtones, flutter tonguing like a surreptitious rattler, as drum and bass hatch an ominously intriguing soundscape.
Stein alone is a pioneering force, pushing the vocabulary for his chosen horn way beyond the norm. Yet he's heard to finest effect in this trio of quicksilver like-minds who know best how to goad, shape and angle his vision."-Northern Spy
"A lot of ink virtual and actual has contributed to observations around Jason Stein's chosen instrument. Despite its storied history as a jazz implement, the bass clarinet still has an air of novelty and thereby notoriety about it. Stein's opinion on the matter is evident in the degree of passion and engagement he brings to seemingly every musical outing. In his hands it's never a gimmick, but rather a sincere means of creative expression, different, but no less viable than its better-known and more prevalent reed brethren. Stein's approach to album-drafting is comparably free of artifice or over-thinking. After Caroline involves Locksmith Isidore, his working trio with bassist Jason Roebke and drummer Mike Pride investigating six Stein originals, a collectively improvised piece and a limber, effusive rendition of John Coltrane's "26-2", itself a contrafact of Charlie Parker's "Confirmation" with new melody affixed.
Avoidance of frills doesn't mean a reliance on rote as Stein opens the album with a solo extemporization on "As Many Chances as You Need" that runs the register limits of his reed before locking on a stomping groove stamped with finger-popping snare shots and knee-buckling bass stops. "Eckhart Park" alights on slaloming rhythmic obstacle course and finds Pride digging in on the breaks with some forceful press rolls and whirlpools as Stein and Roebke play it contrastingly soft and mellifluous. "Ida Like" trades meter for texture with Roebke rubbing and thrumming against eddying cymbal splashes and an array of grainy reed murmurs. "Walden's Thing is seven-minutes of ardent, churning freebop with all three players elbowing amicably for prominence amidst the galloping vertical momentum. Stein's selection of throaty tone and assemblage of effects is at once diverse and deliberate.
The sauntering ballad "You Taught Me How to Love" tacks to the other end of the stylistic spectrum, trading velocity and density for a laidback confluence of instruments and a through-theme that mixes melancholy with a bit of wry whimsy. Pride stirs his skins with brushes while Roebke drops bulbous tones as counterweight, walking a solo that parses the beat without flouting it. The feel is one of easy conversation free of platitudes or pleasantries. "We Gone" signals the end with another stomp set to a backbeat and strong ostinato. Stein uses both as a springboard for a solo steeped in layered sound that ferries emotion without compromising the undergirding ferocity of the funk. That balancing act is actually a cogent correlation for the trio's applied blend of prowess and quiet profundity, a parallel also found in Stein's unassuming application of an instrument once-considered unconventional."-Derek Taylor, Dusted Magazine