These three quartets were composed in the winter and spring of 2019, and recorded in the summer and fall. They explore an unusual assemblage and style, combining the precious articulation of the chamber quartet with the strident timbres of a jazz ensemble while making use of the expanded pallet of electronic processing. While piano and saxophone is a conventional pairing, these pieces take a novel approach to the combo, splaying complex harmonic structures across three saxes (baritone, tenor, and alto) and driving the ideas forward with a relentless piano-engine, which alternates between concussive stomping and nested complexity.
The electronic processing is both crucial and subtle. At times the treatments build up to dramatic intensity but without taking over or veering into electronic music. The overall effect of the electronics is an expanded depth and dimensionality of the acoustic ensemble.
The more obvious influences reflected in these pieces are the jazz innovators Ornette Coleman and Miles Davis as well as postmodern minimalists Philip Glass and Steve Reich, but one can also hear echoes of the later Beethoven piano sonatas, and passing references to the rock music of King Crimson and Godspeed You! Black Emperor.
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