Michael Musillami's Dialect - Fragile Forms (2006)

Guitarist Michael Musillami has grown and expanded his horizons over three decades of performing and recording. A much more progressive jazzman from his days playing standards, Musillami has also become a fine composer of notable original music. On this date with his quartet dubbed Dialect, the leader presents new material and a handful of reworked pieces from older recordings done with larger ensembles, but played with a foursome of incredible musicians. Peter Madsen has been a dazzling but unsung pianist in the modern jazz sphere. Drummer Matt Wilson and bassist Drew Gress have plenty of acclaim as sidemen and leaders. It's not difficult to hear the shared values, respect, and trust this group exude in exponential terms. Of the new pieces, "Brooms" is a tribute to the brushwork of Wilson, a frantic waltz calmed, slowing altogether, and the most fragile deconstruct. "Ernie the Neck," dedicated to Musillami's 200-pound Great Dane, is a towering theme, imposing, a bit threatening in subtle ways, with a dank bass from Gress surrounding Wilson's light funk. The heavily improvised title track sports triplet figures in different strategic placings, confident in its brave heart, contrasting with the brittle intro of the two-minute "Robmac," essentially cautious and skeptical. Musillami's tone is not overtly over the top or mutated, but solid, fluid, a bit angular and very accessible. Of the remakes, he prefers unison lines with Madsen that dart in and out of sight as on the unabashed, bop based, bouncy and dancing, at times furious "Seven Blend." The sad ballad "Emmett Spencer" from his early days is redone, perhaps one of his more memorable pieces, and quite similar to "You Don't Know What Love Is." In over 13 minutes, "Beijing" (the title track of a previous CD) phases from dawn in Asia with gongs and percussion to overtone laden 6/8 time signature chords from Musillami with a bright modern line. Madsen shows his depth and substance throughout this CD in his brilliant solos and workmanlike partnership with Musillami on the complex melodies and shouted choruses. He never shows up in the critic's polls, but is overdue to place and finish high on them. Michael Musillami, also one deserving wider recognition, has put together a string of excellent recordings for the Playscape label, and alongside the recording Dachau, this ranks with his very best. © Michael G. Nastos