By Don Phipps
The interesting and spontaneous dynamics presented by trumpeter/flugelhornist Steph Richards and her bandmates on Power Vibe are diverse and challenging. While the abstract numbers wind and unwind in various ways, each offers its own mood and energy.
Unfortunately, studio engineering is problematic – in particular, the buried aspects of Joshua White’s piano lines (check out “Power Vibe” where his impressive solo is obscured). White’s technique is certainly compelling, and his energy offers great counterpoint to Richard’s sweet lines and Stomu Takeishi’s all-over-the-neck bass effort, but even towards the end of the modern ballad “October to July,” where a beautiful call and response back and forth between Richards and White should be a highlight, White is relegated to the background. Contrast this with the live number, “Supersense (Live in Bolzano),” where the recording mix gives his piano a bit more (but still not enough) weight. Towards the end of “Supersense,” White propels the piece into sonic space.
That said, Richards exhibits a wonderful set of chops, and her lines race along or use staggered syncopation (check out “Power Vibe”). Her flugelhorn effort on “Moutons” seems to float in mid-air, adding runs or blowing fat notes that slur upward. Her work on the live number “Supersense (Live in Bolzano)” suggests playfulness, as her notes slip and slide about. And her cool intro on “Prey” and on the melancholy “October to July” reveal yet another side to her playing.
Takeishi, too, shows his bass skills throughout the album. Listen to his staccato picks on “Prey,” rolling along above Max Jaffe’s sensory electronics. Or his subtle work on “October to July” and his racing, rumbling technique on “Reculez.” Drummer Gerald Cleaver too, makes his presence felt on “Reculez,” – with well-time snare rolls and some fine work on the toms. Sadly, Cleaver’s contributions are also shrouded in the mix.
Jaffe’s electronics are interesting, but at times confusing. What is he trying to accomplish, for instance, on “Power Vibe?” Is his purpose simply to add texture or surprise? One might think the jagged lines of “Power Vibe” would work fine without the atmospherics, which at times sound like howling wind. His work on “Reculez” is more precise and deserving of recognition.
“Supersense (Live in Bolzano)” features a passage where Takeishi and Richards play in unison. Bass and trumpet together – quite a pairing! And Roberts and White shine, while Jaffe takes over on the drums and adds some interesting flourishes here and there.
In sum, there is great feeling and virtuosity on display in Power Vibe. Roberts and company should be applauded for their willingness to take chances and push the envelope. If complex, free, and challenging music is your interest, Power Vibe is worth exploring, technical limitations notwithstanding.
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