Bruno Raberg Tentet: Evolver

Bassist Bruno Raberg released a nonet recording, Chrysalis (Orbis Music), in 2002—review here. That was his only foray into recording with a large-ish ensemble. Since Chrysalis he has primarily recorded in small ensembles. Evolver brings him back to the "almost a big band" format in more than twenty years. The disc features a first-rate tentet, with a pair of guest artist contributions which expand the voicings.

As the opener "Peripeteia" spins, the first impression is Gil Evans, or perhaps Evans' protege, Maria Schneider. The music is airy, as if drifting on a slow-moving cloud. The ensemble is reed-heavy—two saxophones, flute and bass clarinet dancing barefoot with trumpet and trombone. The arrangements contain a soothing ambiance. Anastassiya Petrova's subtle Hammond B3 work on six of the nine tunes is key to the overall success of the realization of Raberg's vision.

Raberg, in his small ensemble recordings, could be accurately tagged as an approachable free jazz player. That tag fits even better on Evolver. The classical- tinged loveliness and luminescence of his arrangements and compositions are captivating.

The four-part, twenty-eight-minute "Echo Suite" has a darker feel than the first six compositions of the set. Kris Davis' prepared piano gives the sound a kalimba-like vibe, with the overall sound exuding a brooding Afro-Brazilian mood.

Evolver presents Bruno Raberg's finest hour on record. Hearing the bassist and composer back in an almost big band setting—presenting music that is perfectly arranged and played, and remarkably beautiful—is a special treat.

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