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"Renowned for his Free-Jazz and Avant-garde jazz albums, Collin’s latest follows his earlier musical inclinations and the result is a somewhat disquieting yet thought-provoking set of contemporary jazz. In the spirit of the far-out sax sounds of Charlie Parker, Ornette Coleman and Rahsaan Roland Kirk before him, Collin excites the auditory senses with Suitable Benchmarks. . . . Collin’s instrumentals hold together in a web of sonic elegance. Suitable Benchmarks Of Reform might be a far cry from traditional jazz, contemporary jazz and jazz-rock fusion, yet the thought-provoking sounds keeps the listener fixed on some of the most remarkable horn-based, free-form jazz instrumentals being made today. . . . Suitable Benchmarks Of Reform is a major addition to free-form, avant-garde jazz. ★★★★☆" - Robert Silverstein, Roots Music Report
"In Sherman's hands, on the suite, it sounds like God's heartbeat, an underlying and immutable truth that serves as a spiritual foundation for a tranquil soundtrack to human existence, brought into being in a small NYC apartment. Hopefully, the neighbors are listening. ★★★★☆" - Dan McClenaghan, All About Jazz
"The loss in group spontaneity pales under his prowess. B+(***)" - Tom Hull - on the Web
"It is all very well described, organized, planned and consequently executed. . . . It is precisely in this very technical operation that Collin Sherman's genius is fully manifested, since it is one thing to theorize and one thing is to do. . . . Collin Sherman is young and despite the fact that, as we recalled at the beginning, he already has thirteen recordings behind him, he has a career as a composer ahead of him, which given the premises, could be very interesting and profitable." - Mario Grella, Off Topic Magazine
"Best known for his alto sax work, Collin Sherman goes it all alone in painting a thick tapestry with instruments . . . ." - George W. Harris, Jazz Weekly
Note from the artist:
"Suitable Benchmarks of Reform", my thirteenth release, sticks to the same process I have used on past releases, where I play all of the instruments myself and overlay the parts. This album is essentially in two sections; the first being a collection of three independent tunes, and the second being a four-part suite.
The opening tune, “Phalanx Strictures”, has a rolling, propulsive 15/4 rhythm and a repetitive melody that makes use of the tendency for the odd meter to feel as if each measure is falling over the top of the next. It’s also the most instrumentally dense piece on the record. Although built around a repeating sequenced bassline, the harmony instruments and horns liberally apply accidentals, providing a sense of free exploration even with the bass continually returning to the tonic.
“Rival Machinations” is completely improvised, with no stated melody or pre-planned elements other than the instrumentation.
“Worthless Objects and Photographs Thereof” slows things down quite a bit and employs a memorable clarinet melody. The Bb soprano clarinet and bass clarinet are the only horns used on this piece, giving it an earthy vibe.
The rest of the album is comprised of the four-part “Rumination Suite” in C minor, which is intended to represent an arc of burgeoning self-awareness and accompanying psychological and spiritual recovery. Each movement in the suite is built around the soprano saxophone and bass tongue drum, providing a steady, metronomic foundation for the tunes.
The first movement, “Meditation on Resentment”, begins the suite with the slow (60 bpm) tongue drum establishing the pace and harmonic framework. Vibraphone provides color and expands the harmonic portrait before the saxophone enters. Eventually strings join the mix, and as the harmonies get more dissonant, the saxophone responds with increasing activity, eventually becoming frenetic and restless, expressing discontentedness.
The next movement, “Faults and Missteps”, explores the mindset one naturally has after nurturing one’s resentments. A repeating, bluesy electric guitar riff sets the tone for the piece along with the tongue drum, insistent and throbbing.
“Things Turn Around” begins with near silence as the tongue drum occasionally provides a lone “C” note. Gradually, various other percussion instruments enter the fold, as well as an oboe, before the saxophone begins its exploration. As the parts flesh out and become busier the piece builds to a dense finale. The slightly quicker tempo and busyness of the piece provide a sense of moving forward; while not exactly providing happiness or resolution, there is the sense that one can move beyond the mistakes that nurturing one’s resentments inevitably yields.
The suite ends with “Foundations of Serenity”. As the most harmonically consonant movement in the piece it establishes a sense of calm. It is meant to reflect a mindset where, although not everything is perfect, there is enough to build a solid path forward.
I hope you enjoy this music and can relate, no matter where along your path you have found it.
supported by 4 fans who also own “Suitable Benchmarks of Reform”
This record has such a magical flow to it, it seems to capture so directly the ups and downs of life, the joy of music and dance, and it's just so damn catchy and fun to listen to as well. Giles
supported by 4 fans who also own “Suitable Benchmarks of Reform”
A fitting sequel to the Trickster album, created in the context of the challenges of 2020 faced by us all. For these exemplary artists, a testament to the creative possibilities available when robust composition, instrumental virtuosity, and deep musical connection occur regardless of physical isolation. jonathandimond
supported by 4 fans who also own “Suitable Benchmarks of Reform”
how did I miss this release? I'm just finding out about it over a year later. listened to the samples. then immediately purchased CD/digital. I'll sleep by my mailbox. hard to pick a favorite track. they all sound good. but I'll start with Interregnum. great album!!! steevocrag