|Joe Locke — Subtle Disguise (Nov. 16, 2018)
Joe Locke — Subtle Disguise (Nov. 16, 2018)✹ For his 36th recording as a leader, world~renowned vibraphonist Joe Locke has assembled a tightly knit quartet which brings to life a set of diverse and emotionally powerful original compositions, laying the framework for stellar contributions from special guests Adam Rogers (guitar), Dave Binney (alto), and vocalists Raul Midón and Alina Engibaryan. With Locke calling this recording “the total expression of who I am as a musician and human being,” subjects of love, loss, history and social awareness are laid out in six new works from Joe's pen and two blues-imbued covers by Bob Dylan and Blind Willie Johnson.
✹ “Joe Locke’s playing and writing have been an absolute joy to this vibist’s ears that have been starving to hear a player who challenges himself on every tune. Joe is constantly pushing the envelope musically. The cat is going into orbit soon …. I love it!” — Mike Mainieri
✹ “Not only has he mastered an instrument that has catapulted only a handful of players to the forefront of modern jazz — but he has done so in a way that transcends mere technique and establishes him as a unique and adventurous musical voice.” — Derek Richardson, San Francisco Bay Guardian
✹ “In the select group of contemporary vibes players, Locke has claims to head the list.” — Penguin Encyclopedia of Jazz
Location: New York City, NY
Album release: November 16, 2018
Record Label: Origin Records
01 Red Cloud 7:38
02 Who Killed Davey Moore? 6:24
03 Subtle Disguise 9:16
04 Make Me Feel Like It’s Raining 9:07
05 Rogues of America 9:21
06 Motherless Children 8:09
07 Safe and Sound (At the Edge of the Milky Way) 7:32
08 Blondie Roundabout 7:16
09 A Little More Each Day 3:51
✹ Joe Locke: vibraphone;
✹ Jim Ridl: piano, Fender Rhodes, synthesizers;
✹ Lorin Cohen: acoustic bass, electric bass;
✹ Samvel Sarkisyan: drums;
✹ Raul Midon: vocals (2, 6), guitar (2);
✹ Adam Rogers: guitar (1, 3, 6~8);
✹ David Binney: alto saxophone (1, 5, 8, 9);
✹ Alina Engibaryan: vocals (9).
✹ Produced by Joe Locke
✹ Executive Producer: Nadja von Massow
✹ Recorded, mixed and mastered by Mike Marciano at Systems Two Studios, Brooklyn NY on August 2 & 3, 2017
✹ Cover photography & graphic design by nad.works / Nadja von Massow
✹ Additional photography: Brian McMillen, Graham Roy, LAPL Valley Times Collection, illustration elements furnished by NASA
By DAN BILAWSKY, October 18, 2018. Score: ****½
✹ Have we been dealing with two different Joe Lockes for all these years? To some, the vibraphonist presents as a technically adept and intellectually curious seeker, constantly pushing through to new levels of possibility and commitment with his music. But for others, Locke is a conduit to understanding the human condition. This is a dichotomy that obviously speaks to vantage points and perspectives, with neither understanding ringing false. And while the existence of said split isn’t at all surprising when considering a listener’s potential takeaway from Locke’s body of work, it’s something that the artist himself has also wrestled with in the past. “For me, this album is the fruition of a long journey of self discovery as an artist, where I no longer see the different aspects of my musical personality as separate or at odds with one another,” he notes. “I have discovered my own lingua franca, connecting the seemingly disparate styles I enjoy playing.”
✹ That statement, pulled from the press release for Subtle Disguise, isn’t some mere marketing soundbite. To hear this music is to understand that Locke’s stock neither rests solely with his four smoking mallets or his ability to pierce the psyche but, rather, with his gifts in rectifying said forces into one powerfully direct current. Blending the personal, the political, and the poetic into an artfully assembled package, Locke makes a profound statement about our times.
✹ Opening with “Red Cloud,” a hypnotic~turned~intense original that takes its name and inspiration from one of the most significant leaders of the Oglala Lakota, Locke gets down to business right away. With help from his core quartet, featuring pianist Jim Ridl, bassist Loren Cohen, and drummer Samvel Sarkisyan, and with the searing suggestions of guest saxophonist David Binney upping the ante, Locke hits a home run on his first at bat. Following that with a funky, metrically~slanted take on Bob Dylan’s “Who Killed Davey Moore?” featuring vocalist~guitarist Raul Midon, the vibraphonist shifts musical gears while playing to the great folk bard’s explorations of morality and man’s hurtful insouciance.
✹ As the album moves on, a gorgeous blend of the universal and the topical carries forth. With the title track, Locke, Ridl, and guitarist Adam Rogers explore the masks we all wear from time to time with a pointed and passionate grace; on the soulfully shimmering “Make Me Feel Like It’s Raining,” Locke salutes vibraphone trailblazer Bobby Hutcherson with warmth and tenderness; and through the literal centerpiece, “Rogues Of America,” our present~day leaders are revealed as they truly are while Locke and company probe the depths with drive and electric purpose.
✹ Subtle Disguise’s second half proves equally moving and meaningful, opening on a version of “Motherless Children" that brings Midón and Rogers back into the fold to assist with a nod to the Steve Miller Band’s rendition of that Blind Willie Johnson classic. It’s Locke’s tribute to his sister, Bea, who first turned him onto that blues~rock take. Then two of the most impactful compositions to ever come from Locke’s pen — the cosmically pure “Safe And Sound (At The Edge Of The Milky Way),” taking name and image from an Albert Finney delivered line in the film Orphans, and the charged “Blondie Roundabout,” referencing Locke’s manager, Nadja von Massow, and the energetic aura that surrounds her — arrive back~to~ back. Both numbers previously appeared as notable inclusions on Parts Unknown (Origin, 2017), a Locke~enhanced gem from the John McLean/Clark Sommers Band, but each takes on a more organic appearance here.
✹ While Locke could have easily ended with “Blondie Roundabout,” using energy as his parting gift, he opts instead to raise heart and influence in his closing. Moving over to piano, he invites vocalist Alina Engibaryan to take the spotlight on “A Little More Each Day,” a vocal rendition of “Make Me Feel Like It’s Raining” that features some of Binney’s most simple and directly soulful playing on record. It’s but one last way that Locke shows himself and lays out what must be an intrinsic belief in John Keats’ well~quoted line: “Beauty is truth, truth beauty — that is all ye know on earth, and all ye need to know.” ✹ https://www.allaboutjazz.com/
|Joe Locke — Subtle Disguise (Nov. 16, 2018)