CD Review: Joe Sanders, Parallels

Joe Sanders’ “Parallels”, his third as a leader, is an album that seeks to capture the complexity and breadth of the bassist’s musical journey so far. Released on Whirlwind Recordings, the project is divided between live recordings from the Jazz en Tête festival in France and a selection of studio tracks, some of which feature guest contributors while others are constructed by Sanders alone. This dual structure is not only a formal device but also a reflection of the album’s central preoccupation: the coexistence of different musical identities, experiences, and processes.

The first half of the album is drawn from a live set featuring Sanders’ working quartet: Logan Richardson (alto saxophone), Seamus Blake (tenor saxophone), and Gregory Hutchinson (drums). The live environment is immediately apparent in the group’s interplay. “Dualities” opens the record with a sense of urgency and cohesion, the horns weaving around Sanders’ bass lines while Hutchinson’s drumming pushes and pulls the tempo. The group’s communication is attentive and responsive, with each member contributing to the evolving shape of the music.

“J’ai” stands out for its rhythmic drive and the conversational quality of the improvisations. Sanders and Hutchinson demonstrate a strong rhythmic partnership, maintaining a groove that is both flexible and assertive. The saxophonists exchange ideas with clarity, their solos marked by a sense of direction rather than excess. The live tracks benefit from the presence of an audience, which seems to energize the performers and encourage risk-taking. The result is a set of performances that feel immediate and unforced, with a collective focus that is sometimes harder to achieve in the studio.

The album’s second half shifts to the studio, where Sanders explores a different set of possibilities. Here, the music becomes more varied in texture and mood. The title track, “Parallels,” is a solo piece for double bass, highlighting Sanders’ technical facility and melodic sensibility. The absence of other instruments draws attention to the nuances of his playing, from the articulation of individual notes to the shaping of phrases.

“Amalfi” introduces guest musicians Jure Pukl (tenor saxophone) and Taylor Eigsti (keyboards), bringing a lighter, more lyrical atmosphere. The composition is less tightly wound than the live material, with an open, almost pastoral quality. “Orangebleu” and “The Rise and Fall of Pipokuhn” are multi-tracked by Sanders, who layers bass, keyboards, and percussion to create intricate, self-contained sound worlds. These tracks incorporate influences from funk, R&B, and electronic music, demonstrating Sanders’ interest in genres beyond jazz.

“La Vie Sur La Terre” is notable for its inclusion of Sanders’ young son on melodica, a gesture that introduces a personal and playful note. The track’s gentle melody and minimal arrangement provide a contrast to the more intense moments elsewhere on the album. This willingness to include family and to foreground vulnerability is a recurring theme in Sanders’ recent work.

Sanders’ compositions on “Parallels” are marked by a balance between structure and openness. The live tracks are built around clear melodic and rhythmic ideas, but leave ample space for improvisation. The studio pieces, while more tightly arranged, still allow for moments of spontaneity, particularly in the interaction between Sanders and his guests. Throughout, Sanders’ bass playing is central—not only as a rhythmic anchor but as a melodic and harmonic voice.

The album’s title and structure reflect Sanders’ intention to present different aspects of his musical identity. The juxtaposition of live and studio recordings, group performances and solo efforts, reflects the multiplicity of influences and experiences that inform his work. Rather than seeking to unify these elements into a single style, Sanders allows them to coexist, inviting listeners to consider the connections and contrasts between them.

“Parallels” can be heard as a document of Sanders’ ongoing artistic development. The album does not attempt to provide definitive answers or to settle into a fixed aesthetic. Instead, it presents a series of musical situations—some collective, some solitary; some energetic, some introspective—and invites the listener to engage with them on their own terms.

The diversity of the material may strike some as eclectic, but it is grounded by Sanders’ consistent presence as a bassist, composer, and producer. His willingness to experiment with different formats and to include personal elements, such as his son’s contribution, suggests a musician interested in growth and in the honest representation of his experience.

In conclusion, “Parallels” is an album that resists easy categorization. By combining live and studio recordings, group interplay and solo work, Sanders offers a multifaceted picture of his musical world. The album’s contrasts are deliberate and meaningful, reflecting the realities of a contemporary jazz musician navigating multiple contexts and influences. Listeners will find moments of intensity, lyricism, and experimentation, all anchored by Sanders’ distinctive voice on the bass. The album stands as a thoughtful exploration of the intersections—parallels—between different modes of making music.

Line-Up:
Joe Sanders – double bass, electric bass, drums, piano, voice, programming | Logan Richardson – alto saxophone (1-4) | Seamus Blake – tenor saxophone (1-4) | Taylor Eigsti – piano & keyboards (10) | Greg Hutchinson – drums (1-4) | Jure Pukl – tenor saxophone (6) | Elioté Sanders – melodica (4)

Release Date: 11 October 2024
Format: CD | LP | Streaming
Label: Whirlwind Recordings