Dreaming

Originally an alto saxophonist, Marc copland found
his calling as a pianist and bandleader and, after
recording for several different labels, he founded
innerVoice Jazz a few years ago. He features the
same quartet on his new album Dreaming as on the
prior release Someday (2022), with robin Verheyen
(soprano, tenor), long-time collaborator Drew Gress
(bass) and Mark Ferber (drums). the session has
the feeling that the quartet road-tested these songs
for audiences: everything seems to fall into place in
these challenging originals, along with the leader’s
arrangements of two decades-old selections.
the album opener is an infrequently performed
thelonious Monk composition, “eronel”, a piece
deserving of wider appreciation. the quartet digs
into the work and captures its upbeat, quirky air, as
the leader’s constantly shifting piano and Verheyen’s
playful soprano are full of humor. there is also
a bonus alternate take, available exclusively by
download with the purchase of the cD (it was likely
a close call to choose between them for the master
take). copland’s “LSt” isn’t named for the WWII
vessel, it’s an acronym for “Little Swing tune”. the
brisk piece builds from a simple riff and develops
into a solid bop vehicle with a potent rhythmic drive
behind the saxophonist’s bristling tenor and the
leader’s richly textured piano.
copland not only features his musicians
extensively but also encourages them to contribute
original compositions. Gress penned the mysterious,
tense ballad “Dreaming”, which borders on conveying
the air of a nightmare at times. the pianist’s rich
harmonics and unison lines with Verheyen’s tenor
lead into the composer’s creative solo. the bassist’s
“Figment” has a similar flavor, though it is more
dramatic and strident, as the intensity builds upon
its wistful theme. the saxophonist contributed the
infectious post-bop anthem “Destination Unknown”,
as well as the haunting “Passing through”. to
close the album, copland takes a fresh approach
to the oft-recorded standard “Yesterdays”, setting
the mood for an inventive interpretation with a
dissonant introduction and adventurous solo, while
Verheyen’s tenor playing also avoids predictable
paths. the superb rhythm section work of Gress
and Ferber keep the piece on edge as well. the only
disappointment is the fade out of this track, though
copland presumably wanted listeners to imagine
their own ending.
For more info visit innervoicejazz.com. Copland is at
Mezzrow Oct. 4-5. See Calendar.