Review: Dave Binney 4tet at the Blue Whale

New York-based jazz musicians pass through the LA area from time to time, and I always try to catch a good show when I can. I never pass up an opportunity, however, to see alto saxophonist David Binney. I have been a fan of his playing and compositions for several years now, and have had the opportunity to hear him perform a few times. A relentless explorer and veritable bandleader, Binney builds his set from a long list of his original compositions over the last decade (sometimes more), and unleashes his band upon the material. With a freshness and freedom often only heard in a composition's first performances, Binney and his bandmates breathe new life into the music each time, taking risks, surrendering at times, relentless at others. Binney brought a tight quartet to the Blue Whale on Saturday night, demonstrating once more the malleability of his music and the artistry of the musicians he chooses to play with.

Dave Binney brought from New York pianist John Escreet and electric bassist Tim LeFebvre, completing the quartet with LA's own Louis Cole on drums. If you are unfamiliar with Louis's music, I would highly recommend checking out some of his videos on Youtube. His style and influence was apparent throughout the night, his layered, often aggressive playing splashing against Tim LeFebvre's inventive bass. The grooves were at once tight and loose, a sublime push-and-pull against Binney's and Escreet's improvisations. Escreet demonstrated how an acoustic piano can not only function, but excel in a sound setting that would otherwise be regarded as "electric"; employing two-handed, percussive techniques, Escreet often built material not with melodies, but with rhythmic and tonal shapes and gestures.

Binney, as expected, lit the place on fire. With music that intense, it is difficult as an improviser to find the proper pacing; many soloists dive too quickly into "loud and fast and lots". Binney is a patient and thoughtful soloist in any context, but his composition-centric, "serving the big picture" abilities were highlighted at the Blue Whale as he maintained a gradual rise in intensity in each improvisation, engaging both his bandmates and the audience from start to finish. Binney's experience as a composer is also evident in his strength of idea, or motive, when improvising. Pitches alone are not considered: sound as a whole is introduced and developed.

This was not a show of technical prowess (although it was definitely apparent), but one of textural, rhythmic, and gestural exploration. Nights like Saturday remind us all that there is still plenty of new music being made that holds deep roots in the jazz tradition --- not the outward, obvious tradition of playing swing and standards, but the tradition of "live" and "living" music. As the inimitable Eric Dolphy said:

When you hear music, after it's over, it's gone, in the air. You can never capture it again.

Musicians like Binney, Escreet, LeFebvre, and Cole continue the catch-and-release of this music we so dearly love. It was beautiful to be a part of a packed house enjoying such a fresh night of music, and I believe it is a testament that we'd all like to see a little more of Dave Binney and his groups on the old West Coast. Thanks for a spectacular show, guys.