9 Songs, 1 Hour 3 Minutes

EDITORS’ NOTES

Saxophonist and composer Chris Potter has covered a lot of musical territory in his career. Early on, he gigged with bebop legend Red Rodney; later he played with the late drummer Paul Motian, an artist known for his deep swing and sense of gestural nuance. Potter has also recorded charged electric jazz. The Sirens is an interesting project inspired by Homer’s Odyssey. Potter is joined here by pianist Craig Taborn, bassist Larry Grenadier, drummer Eric Harlan, and David Virelles on prepared piano, celeste, and harmonium. Things start with “Wine Dark Sea,” where Potter displays his big, commanding tone on tenor, and the band moves easily from impressionism to a fractured groove. The title cut features mysterious bass clarinet utterances backed by melancholy piano, bowed bass, and shimmering cymbals. Later, Grenadier steps forward with some fine arco work and Harlan cuts loose with emotive clatter and rumble as Potter soars on tenor sax. On “Nausikaa,” Virelles’ celeste nicely intermingles with soprano sax and piano. The Sirens closes with “The Shades,” a muted improvisation crafted by Taborn and Virelles.

EDITORS’ NOTES

Saxophonist and composer Chris Potter has covered a lot of musical territory in his career. Early on, he gigged with bebop legend Red Rodney; later he played with the late drummer Paul Motian, an artist known for his deep swing and sense of gestural nuance. Potter has also recorded charged electric jazz. The Sirens is an interesting project inspired by Homer’s Odyssey. Potter is joined here by pianist Craig Taborn, bassist Larry Grenadier, drummer Eric Harlan, and David Virelles on prepared piano, celeste, and harmonium. Things start with “Wine Dark Sea,” where Potter displays his big, commanding tone on tenor, and the band moves easily from impressionism to a fractured groove. The title cut features mysterious bass clarinet utterances backed by melancholy piano, bowed bass, and shimmering cymbals. Later, Grenadier steps forward with some fine arco work and Harlan cuts loose with emotive clatter and rumble as Potter soars on tenor sax. On “Nausikaa,” Virelles’ celeste nicely intermingles with soprano sax and piano. The Sirens closes with “The Shades,” a muted improvisation crafted by Taborn and Virelles.

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