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The Way Out of Easy
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The Way Out of Easy
Current price: $11.89
Barnes and Noble
The Way Out of Easy
Current price: $11.89
Size: CD
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Between 2016 and 2023, guitarist
Jeff Parker
and his quartet held down a weekly residency at the tiny Los Angeles bar Enfield Tennis Academy. They worked across standards, jazz-funk covers, and group improvisation. Over time, the quartet --
Parker
, guitars;
Anna Butterss
, bass;
Josh Johnson
, saxophone;
Jay Bellerose
, drums and percussion -- eventually abandoned that m.o. in favor of gradually unfolding improvisation that pursued communication and mystery. In 2022, they released
Mondays at the Enfield Tennis Academy
. It showcased long, melodic grooves drawn from more than ten hours of live tape recorded by
Bryce Gonzalez
. He and
utilized the same methodology for
The Way Out of Easy
. Performed on January 2, 2023,
Gonzalez
used only four mic-level controls, delivering an organic, of-the-moment feel.
The 23-minute "Freakadelic" is a radical, extended reimagining of the tune that originally appeared on
's
Bright Light in Winter
for
Delmark
in 2012.
Bellerose
and
Butterss
lay down a midtempo head-nodding hip-hop groove.
Johnson
enter playing twinned lines with harmonic variation. The saxophonist solos first, pursuing the blues and post-bop swing for four glorious minutes when
claims the fore. The punchy vamp is hypnotic and unchanging as the guitarist references modalism,
Grant Green
, and
Tal Farlow
in a drifting, canny solo. They come together at the eight-minute mark, and the rhythm section picks up pace and intensity but never leaves the groove pocket before they break out into group improv at 13 minutes until the end. The single "Late Autumn" commences with intricate fingerpicking from the guitarist, juxtaposing single lines and chords in nearly tender melodic flow.
joins a couple of minutes later playing single notes in harmony as
adds bottom foundation.
is one of the most lyrical alto players since
Art Pepper
; his sense of economy and textural space is enviable. The rhythm section focuses on illustrative flow as
digitally multiplies his vamp-like melody. It changes tempo a bit, though, as
become more pronounced in the mix without sacrificing its elliptical atmosphere.
' lilting, subdued bassline is the hub for "Easy Way Out," framing a placid expanse of haunted psychedelia as
play through, with, and around one another purposefully, as if they're trying to discover the composition while playing it.
supports them all with investigatory pursuit across his kit. If there is such a thing as "ambient jazz," this is it. Closer "Chrome Dome" is introduced by
gently playing solo; he finds a melody and uses it like a circular lullaby before
's kick drum and percussion add ballast and buoyancy. Then
delve into deep, dubwise reggae atop a slow, spidery Afro-funk laden with echo and reverb before it joins a rhythmic vamp that stalks the listener like
African Head Charge
.
equals its predecessor, but it also extends the quartet's musical vocabulary and sonic identity. While they may not be able to play ETA any longer, their musical signature and group communication prove they can make magic anywhere. ~ Thom Jurek
Jeff Parker
and his quartet held down a weekly residency at the tiny Los Angeles bar Enfield Tennis Academy. They worked across standards, jazz-funk covers, and group improvisation. Over time, the quartet --
Parker
, guitars;
Anna Butterss
, bass;
Josh Johnson
, saxophone;
Jay Bellerose
, drums and percussion -- eventually abandoned that m.o. in favor of gradually unfolding improvisation that pursued communication and mystery. In 2022, they released
Mondays at the Enfield Tennis Academy
. It showcased long, melodic grooves drawn from more than ten hours of live tape recorded by
Bryce Gonzalez
. He and
utilized the same methodology for
The Way Out of Easy
. Performed on January 2, 2023,
Gonzalez
used only four mic-level controls, delivering an organic, of-the-moment feel.
The 23-minute "Freakadelic" is a radical, extended reimagining of the tune that originally appeared on
's
Bright Light in Winter
for
Delmark
in 2012.
Bellerose
and
Butterss
lay down a midtempo head-nodding hip-hop groove.
Johnson
enter playing twinned lines with harmonic variation. The saxophonist solos first, pursuing the blues and post-bop swing for four glorious minutes when
claims the fore. The punchy vamp is hypnotic and unchanging as the guitarist references modalism,
Grant Green
, and
Tal Farlow
in a drifting, canny solo. They come together at the eight-minute mark, and the rhythm section picks up pace and intensity but never leaves the groove pocket before they break out into group improv at 13 minutes until the end. The single "Late Autumn" commences with intricate fingerpicking from the guitarist, juxtaposing single lines and chords in nearly tender melodic flow.
joins a couple of minutes later playing single notes in harmony as
adds bottom foundation.
is one of the most lyrical alto players since
Art Pepper
; his sense of economy and textural space is enviable. The rhythm section focuses on illustrative flow as
digitally multiplies his vamp-like melody. It changes tempo a bit, though, as
become more pronounced in the mix without sacrificing its elliptical atmosphere.
' lilting, subdued bassline is the hub for "Easy Way Out," framing a placid expanse of haunted psychedelia as
play through, with, and around one another purposefully, as if they're trying to discover the composition while playing it.
supports them all with investigatory pursuit across his kit. If there is such a thing as "ambient jazz," this is it. Closer "Chrome Dome" is introduced by
gently playing solo; he finds a melody and uses it like a circular lullaby before
's kick drum and percussion add ballast and buoyancy. Then
delve into deep, dubwise reggae atop a slow, spidery Afro-funk laden with echo and reverb before it joins a rhythmic vamp that stalks the listener like
African Head Charge
.
equals its predecessor, but it also extends the quartet's musical vocabulary and sonic identity. While they may not be able to play ETA any longer, their musical signature and group communication prove they can make magic anywhere. ~ Thom Jurek
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