David Paul Mesler
In Spiritu II
Review by Alex Henderson
Seattle-based acoustic
pianist David Paul Mesler’s self-produced In
Spiritu trilogy has been described as “free improvisation” and “daredevil jazz,” which might lead some jazz enthusiasts to
believe that he is doing something radically avant-garde with the three
albums. Indeed, a term like “daredevil
jazz” could easily cause one to think that the pianism on the three In Spiritu albums is abrasive, blistering
free jazz pianism of the Cecil Taylor/Marilyn Crispell variety and that Mesler
is hell-belt for atonality. But in fact,
most of In Spiritu II isn’t avant-garde at all.
Far from an exercise in nonstop atonality, In Spiritu is most easily described as a post-bop
album that occasionally ventures into outside playing but is generally melodic,
relatively accessible and characterized by lyrical playing from Mesler.
The same musicians who
form an acoustic piano trio with Mesler on In
Spiritu I and In Spiritu III form
an acoustic piano trio with him on In
Spiritu II; he is joined by Doug Miller on upright bass and Brian Kirk on
drums. Miller plucks his bass on most of
the material, but he also plays with a bow at times. And when Miller plays with a bow and solos,
he is lyrical and melodic (much like Mesler).
Miller and Kirk are both assets on this 42-minute CD.
Saying that In Spiritu II is essentially a post-bop
album rather than an album of blistering free jazz is not to say that it isn’t
ambitious or risk-taking. Mesler is
definitely ambitious and risk-taking on In
Spiritu II, drawing on European classical music as well as different types
of spiritual music (including European church music and African-American
spirituals). And while Mesler’s playing,
for the most part, has more in common with Bill Evans, Chick Corea, Keith
Jarrett, Ahmad Jamal and Herbie Hancock than it does with Cecil Taylor, that
doesn’t mean that Taylor isn’t an influence at times. “Antiphon,” for example, is an inside/outside
offering that isn’t as intense or in-your-face as something Taylor would do but
does include some Taylor-influenced improvising. There are two versions of “Antiphon” on this
2007 release, and both of them draw on both the inside and the outside.
But much of In Spiritu II is strictly inside, and
Mesler’s mood is calm and reflective on “By the River,” “Hosanna Filio David,”
“Pacem Meam Do Vobis” (which is performed twice) and “Da Pacem, Domine” (which is heard in a six-minute version as
well as a shorter version that is under three minutes). None of those pieces are the least bit
abrasive, the least bit confrontational or the least bit avant-garde; all of
them show us how lyrical a pianist Mesler can be.
Some of the songs that
appear on In Spiritu III also appear
on this album, including the Middle Eastern-influenced “Mystic Dance” and the
moody “Kyrie Eleison.” The
version of “Mystic Dance” that appears on In Spiritu II is shorter than the version on In Spiritu III; this version only lasts
two minutes, whereas the version on In
Spiritu III lasts more than six and one-half minutes. But that isn’t to say that the version on In Spiritu II isn’t effective; this
version, although shorter, still gets its points across emotionally.
When one sees song titles like “Pacem Meam Do
Vobis,” “Do Pacem, Domine” and “Statuit Dominus,” one thinks of Christian
musical traditions in Europe. And again,
European spiritual music is an important influence on this album. But despite having all those different
influences, In Spiritu II never sounds incoherent or
unfocused. Mesler knew exactly what he
was doing when he entered the studio with Miller and Kirk and recorded the In Spiritu trilogy.
In Spiritu II is a thoughtful and consistently
rewarding demonstration of what Mesler has to offer as both
a melodist and an acoustic pianist.
Review by Alex Henderson
Rating: 4 stars (out of 5)
Alex Henderson writes for All Music Guide, Billboard, CD Review, Creem, HITS, Jazz Times, Jazziz, The L.A. Weekly, Review You and Spin.
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