Panorama

SSC1179 2008-01-15

Track List

Line Drive - 6:08
Panorama - 7:28
Orchids - 6:16
Gypsy Tales - 5:53
Set to Sea - 6:47
Oceanography - 7:09
Beneath the Waves - 5:51
Barretto's Way - 8:39
Rabbit Race - 6:07

Musicians

Hans Glawischnig - acoustic bass
Miguel Zenon - alto saxophone
David Binney - alto saxophone
Ben Monder - guitar
Luis Perdomo - piano
Jonathan Blake - drums
Marcus Gilmore - drums
Antonio Sanchez - drums
Chick Corea - piano

with its commanding bowed work at start and finish, its classically majestic bolero theme and idiomatically righteous montuno-backed drum solo, all spun out at a languorous 5/4 tempo.

Two examples of his sonic affinity are the opening “Line Drive,” which shifts between three and five and features a melody tailored to the alto sax of Miguel Zenon, and “Gypsy Tales,” where Ben Monder’s singular guitar sound is as central as the frenetic rhythmic elements that recall gypsy music. Both “Gypsy Tales” and “Rabbit Race” were written during the summer of 2006, while Glawischnig and drummer Marcus Gilmore served as the rhythm section for Chick Corea during Corea’s Spirit of Mozart tour. “Chick hired me on the basis of hearing my last album,” the bassist says, “and he has been very encouraging, not just by his participation here but through urging me to go out on my own and play my music more. “Panorama” is an older Glawischnig piece, with Hispanic inflections on a jazz foundation that are right up Corea’s alley, while “Oceanography,” with what the composer calls a Lee Konitz feeling, is based on “How Deep is the Ocean?” and commemorates some jamming the trio did during the tour with guest saxophonist Tim Garland. Both tracks capture a bracing, multi-generational unit that warrants further documentation.

While all of the musicians are uniformly excellent, Glawischnig remains the dominant figure. He does this without apportioning an inordinate amount of solo space to himself. “I don’t see myself as the center of my own band,” he notes. “I have the capability of presenting myself here, and I do; but I’m a bass player, not an egomaniac. And while I have ideas for larger ensembles, the small group format is a good starting point for shifting the focus more to my own thing. The basic quartet is a good platform for my compositions, and I enjoy all of that room for conversation.”
To confirm the accuracy of Glawischnig’s analysis, note with particular attention the four tracks that feature Zenon. Both
Glawischnig and Perdomo are longstanding members of the saxophonist’s quartet, yet these performances have a flow and feeling that set them apart from yet on the same elevated plane as the music these same players make under Zenon’s direction. Dave Holland pulled off the same feat - of a sideman emerging from a supporting role with his leaders in tow . I would not be surprised to see Panorama marking the same kind of ascension for Hans Glawischnig.