Rob Mazurek is far removed from any standardized progressive or contemporary
jazz, preferring to play his cornet and electronics in modern creative modes
beholden to nothing specific. His big-band, Brazilian-based, or small-combo
recordings all sport a singularity that assures constant surprises along the
path. This quintet of young and experienced fellow Chicago underground pioneers
is yet another unique project in Mazurek's growing and original
discography. Though the band prefers no static time signatures, an odd meter,
funky, or rock beat creeps in occasionally amidst the space-derived or techno
backdrop he always includes. Vibraphonist Jason Adasiewicz is a shimmering
light in darkness, Josh Abrams and Matthew Lux shade mixed colors with deft
bass tones, acoustic and electric, respectively. This allows Mazurek to explore
the full aural spectrum on his orotund toned cornet, occasional synthesizer or
piano. All of these diverse elements can be heard right off the bat for "As If
an Angel Fell from the Sky," as whirring, minimalist sonics and the spare vibe
work of Adasiewicz builds somewhat out of an established vacancy. Mazurek
himself is at his height of interaction with the ensemble during the modal 6/8
jam "The Earthquake Tree," a rolling wheel of hip cornet discourse with
Adasiewicz laying low in the background. Also in the spontaneous composition
mode and a similar beat, "The Hill" is a heavy water experiment based in
rounded edged phrases that linger in Mazurek's head. His fascination with
Brazilian music crops up during the funky and basic tune "Cinnamon Tree," a
melodic work very reminiscent of the dancing sounds of Don Cherry. "The
Lightning Field" interjects free bop, "Dream Rocker" is exactly as the title
suggests, and the contemporary "The Field" is led by the vibraphonist, the
bassists, and drummer, with Mazurek as an observer. As sonically arresting as
the electronic-based pieces like the macabre "Le Baiser/The Kiss" and the
fractured, circular to minimalist space theme "Beauty Wolf" are, they still are
not the centerpieces or the command performances. "Dragon Kites" is a floating
composition trumped by a purposely stuck skip phrase, while furious cacophony
from the entire quintet is captured on "Aphrodite Rising," and "The Star
Splitter" lays Christmas bells on top of South Side Chicago blues. The
remarkable diversity displayed and stunning modernism heard on Sound Is should
indicate that Rob Mazurek's musical footprint is difficult to pigeonhole, but
is clearly an individual stance unique unto itself. If you are open minded,
this CD is hard to resist.