Jakob Dreyer

Roots and Things

Fresh Sound

Bassist-Composer Jakob Dreyer issues his third album, Roots and Things, with a new band. A generous 16 tracks, several that are short interludes, have the album running for nearly an hour. Dreyer’s last two albums (two volumes of Songs, Hymns, and Ballads) featured pianist Jon Cowherd, saxophonist Jason Rigby, and drummer Jimmy MacBride.Yet, he was seeking a different sound for this outing, thereby recruiting the inventive vibraphonist Sasha Berliner. While Berliner is based on the West Coast, the New York-based Dreyer tapped fellow New Yorkers to round out his quartet. They are tenorist Tivon Pennicott, a mainstay in Gregory Porter’s band, and drummer Kenn Salters, who has worked with Chris Potter and Don Byron, among others. Both Berliner and Salters are composers and bandleaders, so they also bring those perspectives to the bandstand. Dreyer is of German descent, so European influence is evident. Combine that with Berliner’s fiercely individual approach and Pennicott’s soulful takes, and it becomes quite a stew of sounds.

The rather generic-sounding title could mean almost anything, but in Dreyer’s mind, the ‘root’ refers to his instrument, the bass. That aside, the sound is refreshing. One doesn’t typically hear this configuration of instruments, and Berliner is one of the more ‘out there’ vibraphonists on the scene. Dreyer composed all 16 tracks except for Rogers and Hart’s “With a Song in My Heart.” It’s a very moody record, mostly introspective and ethereal, but it will also swing, sometimes when one least expects it.

The lead track, “Fifth Floor,” brings us into Dreyer’s mysterious world, with reverberating vibraphone and kinetic drumming, as if an opposing force. The track quickly fades, Pennicott’s fluid tones open “Constellation” in swinging fashion. The drums and bass sustain a forward motion. Yet, one senses the quartet could slip into an ethereal state at a moment’s notice, especially given Berliner’s animated, effervescent runs on the vibes. Salters develops a sturdy groove for “Follower,” imbued by Pennicott’s liquid clusters, and a rather subtle backdrop from Berliner until she steps forward with her declarative lead. When Pennicott re-enters, he blows a repetitive R&B-like vamp that seems both out of step with the tune but somehow inexplicably fits.

The quarter moves away from the swinging fare with “June Tune,” a floating, dreamy ballad that encourages improvisation. Dreyer’s bass line is the glue here, as it often is throughout, an underpinning that gives these musicians free rein as all three do here. “Land of 1000 Blues” is 20 20-second take on Chris Kenner’s “Land of 1000 Dances,” later popularized by Wilson Pickett. Yet we can’t wrap our heads around it due to its brevity, the first of five short interludes, which often indicate a change in direction.

Pennicott reflects the romanticism of the standard “With A Song In My Heart,” but Dreyer’s arrangement allows for many liberties on the melody and rhythm. The leader’s bass solo is especially notable. The ethereal “Downtime” features Pennicott delivering melodic lines, balancing the sustained with the rhythmic, as Berliner comps judiciously, stepping forward brightly when her turn comes. Dreyer’s bass adds to the dreamy feel, the bottom contrasting nicely with Berliner’s tones. As we’ve discerned, this quartet doesn’t stay in a relaxed mode for long. “Fight or Flight” hits hard, a dose of controlled chaos, featuring a whirlwind take on the kit from Salters and perhaps Penniccott’s most expressive playing of any track.

Following the swinging interlude “MTA,” “Hold On” ventures into highly melodic territory, mostly through Pennicott’s fluent approach. Yet, the Dreyer’s penchant for the unsettled rears up again, as the tune grows fierce in intensity, led by the drummer’s insistent attack, a bass lead that takes us to a different place, and the vibraphone’s echoing of Pennicott’s melody. The scalar workout of “Room 1102” leads into the title track, one where Berliner’s vibes offer a bright counterpoint to Pennicott’s seemingly angry blowing. Dreyer’s solo finds a relaxed stance between the two. Interestingly, when Pennicott returns, he adopts a much calmer, flowing posture.

The standout “Big Apple” offers a bit of funk and Salters’ hip-hop drumming, both for the first time. Meanwhile, Pennicott is on top in his R&B mode, and Berliner dances effusively on the vibraphone. This rousing, upbeat feeling does not close the album, however. “Choral Diner” is somber, almost prayerlike. This juxtaposition is like many that appear throughout this engaging project, which keeps us guessing at just about every turn.

• Jim Hynes

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