Trichotomy & Widdicombe’s ‘Iridescence’ and Jeon Nonet’s ‘The Earthy Suites’ Explore Genre Boundaries
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A growing trend in contemporary music sees artists deliberately blurring genre lines, and two recent releases – Danny Widdicombe & Trichotomy’s Iridescence and Song Yi Jeon Nonet’s The Earthy Suites – exemplify this approach, albeit from vastly different cultural and musical landscapes. Both albums demonstrate a willingness to experiment, challenging conventional categorization and offering listeners complex, rewarding experiences.
Australian Trio trichotomy Embraces soul and R&B Influences
The Australian piano trio Trichotomy has built a reputation for prosperous collaborations, and their latest project with singer, guitarist, and synth-player danny Widdicombe continues that trend. This partnership builds on their previous work together on the award-winning 2019 album Between the Lines. According to one observer, Trichotomy consistently delivers a “quality product,” and Iridescence is no exception.
The album’s strength lies in its performance and production, but it also prompts a broader question about categorization within the jazz world. “Personally I’m more concerned with whether it’s good rather than whether it’s simon-pure jazz,” one source noted, reflecting a shift in viewpoint towards prioritizing artistic merit over strict genre adherence. Iridescence draws heavily from soul and R&B, incorporating other subtle influences throughout. All compositions are jointly credited to Widdicombe and the trio, with the singer delivering each track “with elegance and feeling.”
While the performances don’t quite fall into the category of a vocalist accompanied by a band, some longtime fans of Trichotomy might wish for more space for the trio to fully explore their instrumental prowess.However, the album stands on its own as a compelling work, brimming with engaging musicianship and intriguing songwriting.
Korean Nonet Weaves Customary Music with Modern jazz
In a different vein, song Yi Jeon Nonet’s The Earthy Suites delves into the rich tapestry of korean traditional music.The album opens with a rendition of the folk song “Seya Seyaa,” providing a grounding point for listeners. The subsequent suites – Suite One (21 minutes, 39 seconds) and Suite Two (8 minutes, 45 seconds) – become more abstract, perhaps challenging those unfamiliar with Korean culture.
The nonet, comprised of three saxophones, two trombones, guitar, bass, drums, and the leader’s voice, skillfully integrates samples of master drummers and dancers into a powerful and often “unnerving” jazz soundscape. Standout performances include exciting work from Baptiste Stanek on soprano saxophone,alongside engaging solos from guitarist Fabio Gouvea and pianist noe Secula. The album features both driving, energetic passages and moments of elegant beauty, often delivered through the leader’s vocalizations – ranging from melodic singing to more aggressive expressions. Throughout, the orchestrations are described as both “rich” and “ferocious,” adding to the album’s dynamic range.
Both Iridescence and The Earthy Suites demonstrate a willingness to transcend genre boundaries, offering listeners a glimpse into the evolving landscape of contemporary music and highlighting the power of collaboration and cultural exchange.
