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By Cheryl K. Symister-Masterson

 

(Sunjump Records, 2008)

 

“Wait for it.” That suspenseful phrase heard in countless cinematic moments seems to have been echoed by alto and tenor saxophonist Mitch Kessler for some time. Recorded in 2008 at NRS Studio in Catskill, the Albany resident’s long overdue debut release, Erratica, is comprised of eight originals that tumble out of the post-bop bag and feature Hudson Valley jazz stalwarts pianist John Esposito, bassist Ira Coleman, and drummer Peter O’Brien.

 

Erratica is technically adventurous (“The Sixth Marx Brother”) as well as arrestingly cerebral (“Brain Freeze”). But it also has its strikingly tender parts, like the ballad “Bibi Andersson,” with Kessler’s wilting, wavering tones draped by the glistening runs of notes from Esposito, who produced Erratica for his Sunjump label. This group, though, seems to groove at a high-thermometer reading. After Esposito’s opening solo, “Goblins in Love” becomes aglow in white heat, tempered by the loping, melodic lines of Kessler. “Panic” is an arm-wrestling match between O’Brien and Kessler. O’Brien brings about as much smack and crackle as Kessler can propel, in short, jabbing statements.

 

In “Deconstructing Post Modernist Dilletantism,” the ensemble jumps through narrow portals with an abandonment of fear. It’s Esposito’s proximity to Thelonious Monk and Kessler’s to saxophonist Charlie Rouse that harkens back to Monk’s tenure at the Five Spot in New York in the late ’50s. Like Monk, Esposito holds you suspended in the air during his solo, wondering when he’s gonna drop you dizzily to the ground. Erratica points straight ahead to another release by Kessler in the future.

 

 

 

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Roll Magazine - Aug 2009

 

Mitch Kessler— Erratica

(Sunjump Records)

 

With his Sunjump label, Germantown pianist John Esposito continues to document the Hudson Valley jazz scene via archival and contemporary recordings. One of the latter, Erratica marks the long-awaited debut of saxophonist Mitch Kessler, and pairs the Albany-area tenor with Esposito, bassist Ira Coleman, and drummer Peter O’Brien. Those who recall Kessler’s fine way with a standard from his frequent appearances at the late, lamented Sunday sessions at the Pig in Saugerties may be a bit surprised to hear him venturing farther out and into Coltrane territory, as he does here. But on this disc the enthusiasm of the 49-year-old Kessler—who studied under fabled instructor Joe Allard but had shelved his recording career to pursue a livelihood in the legal field—is downright contagious.

 

One of Allard’s brightest students was the great Eric Dolphy, whose jabbing style is visibly manifest in Kessler’s own. Perhaps more audible, however, is the fluid tact of longtime Theolonius Monk sideman Charlie Rouse, which makes much sense given the often Monk-referencing themes of these eight originals (see “The Ugliest Beauty”). Although the leader boldly opens the disc with a lengthy, valve-fluttering solo pronouncement on “The Sixth Marx Brother” (some great titles here), for the balance he gives his comrades ample room to roam; check O’Brien’s interlude of tender brushwork on the Trane-esque ballad “Bibi Andersson.” A brilliant beginning, and one to hopefully be followed soon with more great studio work by Kessler. —Peter Aaron

 

 

 

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342 Bowery, New York, NY 10012-2408 Phone: (212) 473-0043 - Toll Free: (800) 622-1387 - Fax: (212) 533-5059

 

MITCH KESSLER With JOHN ESPOSITO/IRA COLEMAN/PETER O'BRIEN - Erratica (Sunjump CD 07; USA) Featuring Mitch Kessler on alto & tenor saxes & compositions, John Esposito on piano, Ira Coleman on bass and Peter O'Brien on drums. Sunjump mainman & jazz pianist extraordinaire, John Esposito, continues to release great discs with musicians known and unknown. I hadn't heard of the leader, altoi/tenor saxist Mitch Kessler - this disc is his debut, recorded in '08 - and was surprised how strong a player and composer he is.

 

"The Sixth Marx Brother" begins with a strong unaccompanied solo tenor intro which is breathtaking. The rest of the quartet come in when Mitch states the memorable theme. Bassist Ira Coleman takes the first solo which is so fine and followed by the first of many superb solos by John Esposito, on of the strongest jazz pianists on the planet, an under-recognized giant. When Kessler finally solos, Esposito keeps a few different lines going at the same time, both hands commanding inter-dependent layers.

 

This is a marvelous quartet, that sounds as if they have been playing together for many years, sailing and swinging together as one strong force. "Deconstructing Post Modernist Dilletantism" has a rather Monk-like theme that keeps shifting in unexpected ways.

 

Throughout this disc the bass and drums play together with tight, resourceful, connected lines allowing the piano and sax to explore and come up with surprising twists and turns. On the title track, "Erratica", the sax and piano do an amazing job of shadowing one another, swirling tight lines around that are consistently inter-connected with the immense rhythm team flowing superbly underneath. "Panic" is an aptly titled burner that reminds me of Miles' incredible sixties without Miles (Wayne, Herbie, Ron & Tony!). The interplay between the tenor and the drums is just unbelievable.

 

In a more perfect world, this disc would be played constantly on WBGO so that it had a chance to be heard and bought by the jazz-loving masses. In the meantime, it is you the DMG sonic connoisseur that would appreciate this treasure, so check it out and give some credit (cash?) where it is due. - Bruce Lee Gallanter, Downtown Music Gallery

CD $14

 

 

 

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