Ryan Cohan: Originations
Origin Records

The seed for Originations, Ryan Cohan's sixth album as a bandleader, was planted years ago when a multinational tour brought the Chicago-based pianist to Amman and he found himself feeling strangely at home in a place he'd never been before; adding to the surreal quality of the experience, locals asked him if he was Jordanian, intimating they recognized in him something of themselves. Cohan subsequently discovered that his paternal family had, in fact, originated in the general region and that he therefore possessed Palestinian roots to go along with his Jewish upbringing. That discovery not only precipitated a reunion with his father and uncle but inspired him to assimilate aspects of the two cultures into an ambitious collection of chamber jazz material.

Helping the pianist realize that vision is an eleven-piece ensemble comprising James Cammack (acoustic bass), Michael Raynor (drums), John Wojciechowski (flute, alto flute, clarinet and tenor saxophone), Geof Bradfield (bass clarinet, soprano saxophone), Tito Carrillo (trumpet, flugelhorn), Omar Musfi (riqq, frame drum, dumbek), and The KAIA String Quartet (violinists Victoria Moreira and Naomi Culp, violist Amanda Grimm, and cellist Hope DeCelle). While the recording's six compositions hold up as independent pieces, Originations registers as a fifty-minute suite scored for mini-jazz orchestra. As one would expect given the project's background, its material bridges cultures and styles, with elements of modern jazz, Western classical, and Middle Eastern and North African musics woven into Cohan's design. As always, music unites by affirming underlying human connections, and his expressive instrumental tapestry is a prime exemplar.

That Originations will be a distinctive set is evident the moment an unaccompanied cello inaugurates “The Hours Before Dawn” with a plaintive ascending figure, Cohan and the strings joining thereafter to intensify the supplicating mood. The pianist notes that the poet Mahmoud Darwish used the titular phrase to describe “the attitude of his fellow Palestinians toward the promise of the future,” a tone Cohan incorporates into writing that merges aspects of the Arabic modal system with his own harmonic sensibilities. The pronounced chamber dimension of the intro gradually gives way to an entrancing rhythm-driven section, with percussion and bass generating a swaying base for the leader and his horn section to emote over. “The Hours Before Dawn” turns out to be something of a suite unto itself in the way it advances through multiple tempo and mood changes, and, adding to the richness of the arrangement, Bradfield elevates the piece with a sinuous bass clarinet solo.

The high bar set by the opener carries over into “Imaginary Lines,” which showcases interplay between the woodwinds and horn players and demonstrates the deftness with which Cohan's writing moves between classical, jazz, and non-Western styles; further to that, the rollicking solo he delivers midway through reminds us he's as much jazz pianist as composer and arranger. Like “The Hours Before Dawn,” “Imaginary Lines” packs an abundance of ideas into its eight-minute frame without losing a sense of organic form, and Cohan shows immense skill in weaving ensemble and solo parts into a cohesive whole. Up next, “Heart” allows for a romantic expression that's both nuanced and lyrical. The slow tempo allows the artistry of Cohan's arranging to be brought into sharp relief, with contrasting timbres thoughtfully assembled into an elegant whole. Carrillo shines here in stirring solo spotlights, but the piece impresses most of all for the beauty of the writing and arrangement.

In contrast to the ballad character of “Heart,” the joyous “Sabra” is playful, its rhythms funky, earthy, and more than a little alluring. Lyricism pervades “A Seeker's Soul” when piano and Bradfield's soprano saxophone are at the forefront, the others supporting the performers' searching explorations with painterly touches. Here and elsewhere, one hears how effectively Cohan integrates the string quartet into the presentation; never do the string players sound like mere add-ons grafted onto the performance. Similar to “Sabra,” the concluding “Essence” follows a somewhat introspective setting with an enticingly groove-centred one. While still carefully scripted, the twelve-minute piece feels more open-ended, as if Cohan's loosened the reins to let the music swing more freely. A breezy flute solo by Wojciechowski reinforces the airy feel while also accentuating the project's jazzier side, and a rare spotlight featuring Raynor reminds us of his solid contributions throughout.

All told, Originations is a remarkable and original recording, one that reveals Cohan to be a major force as a writer and arranger as well as a superb pianist comfortable in any number of milieus. The care with which the players' voices have been assembled into the settings is but one thing that makes Originations such a standout. One comes away from it, especially when cognizant of the events that preceded the late-2018 recording sessions in Chicago, convinced that the project holds a special place in its creator's heart.

August 2020