New York City Jazz Record
tilting curvaceous | patrick brennan s0nic 0penings (Clean Feed)

Robert Bush
April 2023

Alto saxophonist patrick brennan (who prefers to use all lowercase letters when spelling his name) is at the helm of a superb New York-based ensemble for his new release: Hilliard Greene (bass), Rod Williams (piano), Brian Groder (trumpet/fluegelhorn) and Michael T.A. Thompson (drums).

Rhythm seems to be the prime directive in this particular suite of music (14 selections referred to in numerical sequence). The saxophonist describes these as “groove instances” or “cells”. The opening salvo features a nerve-jangling stop/start landscape reminiscent of Anthony Braxton’s “pulse-track structures” from his quartet and quintets back in the ‘70s and ‘80s, a high compliment.

Each cell proceeds on its own terms and there are many attractive moments throughout the session. Williams’ piano begins as a soliloquy on “(4)”, soon joined by Greene, until Thompson’s explosive drumming transports the idea into a more hyperactive element.

Trumpet and saxophone dominate “(5)” with relentless trilling, and the two horns spar to great effect on “(6)”, where they take the collective cacophony to a higher level. A return to the splintered rhythmic dynamic returns on “(7)”, where everyone seems to be playing and juxtaposing a different tune; the piece is transformed near the end by Greene’s gorgeous bass solo, a highlight of the album. Along the way there are two bittersweet rubato ballads: “(2)” and “(9)” reveal an Ornette-ish influence.

The hidden weapon of this session is Williams, who somehow manages to provide his bandmates with absolute support throughout, even when the horns veer off into harsh dissonance. There’s also an intoxicating extended Thompson drum solo at the end of “(10)”, which further elucidates the drummer’s value to the group and why he’s one of the great undersung players on the scene.

Read original review at the New York City Jazz Record, page 32