Chris Monson: Seldom in the Well
Chris Monson

Being the debut album by Toronto-based guitarist Chris Monson, Seldom in the Well naturally engenders certain expectations. One anticipates, for example, that his playing will be front and center throughout the nine-track recording and that the musicians accompanying Monson will also prominently figure, though not so much that they overshadow the leader. As it turns out, Monson adopts a surprisingly self-effacing role as a player, the guitarist seemingly content to give much of the spotlight to his guests; however, as the sole writer and arranger of the project, Monson's clearly the one in charge.

He's furnished the musicians with a stellar set of tunes, and tenor saxophonist Kelly Jefferson, acoustic bassist Artie Roth, drummer Tom Rasky, pianist Anthony Panacci, and Kevin Turcotte on trumpet and flugelhorn return the favour with superb performances. Each musician distinguishes himself, but deserving of special mention is Panacci, whose solo spots elevate the album every time they appear. Whether voicing block chords or single-note patterns, he's one of those refined players who's playing exudes elegance yet when called upon can be soulful and swinging too. Strong also are front-liners Turcotte and Jefferson, who invest their playing with assurance and enrich Monson's arrangements with personality, while Roth and Rasky contribute colourful yet never overbearing commentary throughout.

Though Monson and producer Tom Rasky share a passion for ‘60s jazz, Seldom in the Well is no retrograde exercise. Monson's nine originals are quality contemporary tunes that while rooted in composed structures and melodic themes are thoughtfully designed to feature individual soloing by the players. Those turns emerge fluidly out of the compositional forms, too, which makes the performances feel all the more natural and tasteful. There's no flab to speak of: solos are delivered succinctly in group settings that are themselves models of concision, with almost all tracks in the three- to five-minute range. Monson's early roots might be as a prog-rock guitarist, but any hint of that genre's predilections for long-form expression and excess are noticeably absent on the album.

Consider “Distant. Solid. Figures.” as indicative of Monson's thoughtful consideration of arrangement and the sensitive manner by which instruments are woven into an effective ensemble fabric. Trumpet, guitar, and saxophone voice unison statements, inciting responses from the bassist, drummer, and pianist, after which a brash, registers-spanning solo by Turcotte and reflective musings by Jefferson and Panacci follow in turn before a song-ending recapitulation. It's only with the advent of the third tune, “The Passing Though,” that Monson's guitar makes its presence authoritatively felt, yet even here he's only briefly out front before ceding the spotlight to Jefferson, Turcotte, and Panacci.

Among the standouts are “Ripple and Collapse,” whose syncopated swing is bolstered by a rousing, guitar-led attack, and “Highbrow on the Waterline,” which distinguishes itself with a strong thematic line and a rare sampling of Monson's acoustic (and rather Spanish-tinged) playing. In addition, the front-liners wax lyrically through the delicate meditation “The Rain Collector,” whereas “Reach. Reflect. Recoil.” initially wends a bluesy way before achieving liftoff during its soaring back half. It's fitting that the cover image not only displays Monson's name but the other musicians' also: Seldom in the Well impresses due to the performances of all the participants, not just the leader's.

September 2018