Ian Wardenski, Unfoldings Review

by Jeff Becker

Ian Wardenski’s Unfoldings offers a world of jazz, where spontaneity and structure dance in a delicate balance through the intertwining of compositional rigor with the freedom of improvisation. This five-movement suite, composed by Wardenski and performed by his quintet, is a project of thematic development, executed with a precision that only comes from a deep understanding of jazz theory and performance.

The ensemble, comprised of Wardenski on guitar, Tamara Tucker’s dynamic voice, Mercedes Beckman’s expressive alto saxophone, Savino Palumbo’s robust piano, Amy Shook’s resonant bass, and Frank Russo’s energetic drumming, brings this album to life with a synergy that exemplifies Wardenski’s vision. Each musician engages deeply with the material, contributing to a collective sound.

The album opens with “Movement I,” where Wardenski introduces the primary theme, a pitch-class set that serves as the backbone of the suite. This theme, angular and pointillistic, is the framework upon which the entire album is built. The melodic material unfolds in various configurations, revealing new facets of its character each time. The movement reflects Wardenski’s skill in creating a narrative through music, as the theme is explored, deconstructed, and reassembled, inviting the listener to engage with the music.

“Movement II” takes the listener deeper into Wardenski’s harmonic world, where clusters and bands of sounds create a rich textural landscape. The interaction between Tucker’s agile soprano voice, used here as a wordless instrument, and the alto saxophone, played by Mercedes Beckman, is particularly striking. The two instruments weave in and out of each other’s lines, creating a dialogue that is impressive. This movement showcases Wardenski’s ability to blend the aesthetics of a chamber ensemble with the improvisational freedom of a small jazz ensemble.

As the suite progresses into “Movement III,” the rhythmic aspect of Wardenski’s writing comes to the forefront. Here, he continues to explore the theme, but with alternative systems for rhythmic organization, creating a sense of forward momentum that propels the music forward. The quintet navigates these rhythmic challenges with aplomb, particularly pianist Palumbo, whose playing is precise and fluid. The interaction between Palumbo and Russo creates a rhythmic foundation that lets Wardenski’s distorted guitar the flexible pocket for his solo to breathe and evolve organically.

“Movement IV” is perhaps the most introspective of the suite, with Wardenski’s guitar and Tucker’s voice presenting the theme with lush harmonic aesthetics. The chords and ensembles approach build a subtle colorizations that reflect the modern jazz idiom with elements of modern classical. The solid grounding by Shook allows for all the players to engage in a delicate dance of tension and resolution. This movement is a study in contrast, as moments of quiet introspection give way to more intense passages, creating a dynamic listening experience.

The suite concludes with “Movement V,” where all the elements that have been introduced throughout the album come together in a final, exhilarating flourish. The primary theme is reintroduced, but this time, it is transformed, expanded, and enriched by the journey it has taken. The quintet plays with a sense of urgency and purpose as if they are racing towards an inevitable and deeply satisfying resolution. The final performance of the album leaves the listener with a sense of completion, as the music comes full circle, yet with the promise of more to come in future works by Wardenski and his ensemble.

Unfoldings is an album of unique compositional depth and instrumentation based on a language that mixes elements of contemporary jazz and modern classical. The level of performance it demands and receives from the Ian Wardenski Quintet is undeniable. Each member of the ensemble brings their own voice to the table, yet they all work together to serve the larger narrative that Wardenski has crafted. This is music that rewards close listening, as the magic of jazz is not just in the notes that are played and colored, but in the spaces between them. Wardenski continues to blur the lines between scholarship and performance, creating a work that is stimulating and making Unfoldings a must-listen for anyone interested in the evolving landscape of today’s jazz.