Extract from the album “Moving Day”
Edition 46 – United States
The art cover of Mark Wade Trio‘s new album Moving Day, is the exact opposite of his previous one Event Horizon: the almost black and white opposed to colors; architecture opposed to nature; verticality opposed to horizontality.
However, one thing links them together by its absence: the human being. No doubt it is humans who have shaped these two landscapes, yet we do not see them. The attention is focused on the artifice of human’s creation if removed from the frame.
But as soon as we enter Moving Day we hear a strong and seductive balance of forms. Perhaps the message is to not emphasize human but what he has created, in its rigor, taking an approach and a point of view that gives a perfect composure to something that does not need to be humanized.
All across the album, there is an economy of notes shared equally, regarding the sound as well as the space level. It is a real delight to have the 3 instruments so perfectly equalized which gives to each one in the trio a perfectly audible singular voice, while strongly unified. The compositions showcase a complicity and a mutual respect. It favors a parsimonious use of notes, playing on space left to each other, appearing crystal clear.
“Midnight at the Cathedral”, track #7 of this album, gives even more space for imagination. Listening to it while looking at the cover, gives the impression that a thick haze gradually fades to let appear the building in all its height, going all the way up to the sky – we can not in see the end of it – like a cathedral. And the sound, as a reminiscent of the spiritual hours of Coltrane, makes this experience as religious as “A Love Supreme”.
From that intro, the rhythm quickly evolves multiple times as the trio is, in fact, exploring the modal nature of medieval music through their modal jazz. Mark Wade explained:
“The idea is like sitting in an old cathedral in the middle of the night and imagining all the different music that had been played in that building over the years echoing together in the rafters.”
Yes, this is what this track is about. A journey in the highly meditative medieval time through the prism of jazz.
A Dies Irae without ‘Dies’, and without ‘Irae’ – only night and contemplation.
Mark Wade: double-bass | Tim Harrison: piano | Scott Neumann: drums