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David Bindman Sextet |
| Don’t think for a minute that self-releasing an album represents the
easy way out. Artists who choose this approach face daunting tasks when
it comes to production, design, distribution, audience outreach and
more. And those lacking discipline or self-editing skills can wind up
producing music that’s indulgent rather than uncompromising.
Saxophonist and composer David Bindman manages to dodge those bullets
on Ten Billion Versions of Reality, which strikes a compelling balance
between adventure and accessibility. As a songwriter, Bindman avoids predictability by using structure in an unorthodox manner rather than dispensing with it entirely. “Sketch in 12,” for instance, opens with back-and-forth interplay between Bindman, trumpeter and flugelhornist Frank London and trombonist Reut Regev. But before the listener has settled in, the tune shifts gears not once, but twice. A post-bop groove grounded by bassist Wes Brown and drummer Royal Hartigan gives way to a quirky spotlight for pianist Art Hirahara, while delicate brass harmonies prefigure “Spring Song,” the gorgeous ballad that follows. On “Refuge,” the band explores melodic possibilities at a pace that’s deliberate enough to accommodate Bindman at his most sinuous and a Regev solo that injects woozy fun into the proceedings. A more straightforward type of joy emanates from the swinging title track, the buoyant nature of which contrasts pleasingly with “Ashgrove,” the most free-form offering here. On the latter, instruments drop in and out unexpectedly, breaking the silence in ways that serve as a prelude to “Through the Clouds,” a sprawling opus that drifts rather than drives, yet never loses its sense of purpose. By the time the sextet ends the sonic inquiries of “Questions for Lucy,” the album’s suitably quirky closer, it’s clear Bindman has avoided the most serious pitfalls of self-releasing an album – and made a damn good one in the process. – Michael Roberts |