Chris Rottmayer, Being Review

by Jeff Becker

In his fourth album, Being, jazz pianist Chris Rottmayer crafts a rich sonic journey of ten songs that are inspired by jazz legends Mulgrew Miller and Woody Shaw. This album’s musical energy is meant to be a continuation of the musical conversations these greats initiated. Rottmayer’s compositions are deeply rooted in the harmonic sophistication and rhythmic ingenuity characteristic of Miller’s pianism and Shaw’s trumpet work.

Rottmayer imbues his pieces with reverence while simultaneously expressing his own jazz perspective and creatively manipulating jazz structures and outlines. This dual approach allows him to honor the genre’s rich history while also contributing his distinct perspective to the jazz canon and his discography. His use of complex harmonies, unexpected rhythmic shifts, and innovative arrangements reveals a deep understanding of jazz’s past and the avenues to bring a fresh perspective.

Released on March 6, 2024, through Shifting Paradigm Records, Rottmayer is joined by Russ Johnson on trumpet and flügelhorn, Matt Endres on drums, and Rufus Reid on acoustic bass. Being is divided into two thematic halves: the first explores compositions inspired by Rottmayer’s study of Mulgrew Miller’s work, particularly his recordings with the Woody Shaw Quintet. The second half reflects Rottmayer’s impressions of Paris, a city with a rich jazz heritage. This dual focus shows Rottmayer’s versatility as a composer and his ability to weave historical influences into his post-bop jazz framework.

The album opens with “On The Street Where Woody Lives,” which finds the communicative ensemble exploring jazz’s harmonic and rhythmic complexities. The piece, a contrafact inspired by Shaw’s “Green St. Caper,” which is based on “On Green Dolphin Street,” illustrates the intricate lineage of jazz standards and the creative reimagining that defines the genre. Johnson’s trumpet work here is particularly melodic and well-toned, as he navigates the harmonic landscape with precision and spontaneity, capturing the essence of Shaw’s influence while adding his flair.

Rottmayer’s “Re-United,” a reinterpretation of Wayne Shorter’s “United,” is another example of Rottmayer’s building on the past. By placing the tune in 4/4 time and crafting a new melody, Rottmayer bridges the gap between tradition and new sounds. The piece is propelled by the rhythmic drive of Reid’s bass and Endres’ drums, creating a dynamic foundation over which Johnson and Rottmayer express their melodic ideas. This track exemplifies the quartet’s cohesive interplay, where each musician contributes to the collective narrative while showcasing their individual gifts.

The Paris-themed compositions provide a contrasting yet complementary experience. “Pigalle” is highly effective in mood-setting, with Rottmayer’s lush harmonies and Johnson’s expressive flügelhorn evoking the storied and sometimes gritty history of Paris’s former red-light district. The track’s introspective nature is a departure from the more energetic pieces, offering a poignant moment of reflection.

“Châtelet,” named after one of the busiest metro stations in Paris, captures the bustling energy of urban life. The up-tempo track features a lively swing rhythm that pushes the ensemble into energetic exchanges, with Rottmayer’s piano and Reid’s bass lines dancing around each other in a tightly woven tapestry. This piece and the similarly vibrant “Rue des Lombards” underscores Rottmayer’s skill in conveying a sense of place through music, transforming auditory experiences into vivid, almost visual narratives.

“Autumn Evening” and “La Seizième” are presented in a trio format, allowing the listener to experience the subtle nuances of the three players’ dynamics. In “Autumn Evening,” Rottmayer’s lines sing with a lyrical quality, while Endres’ brushwork provides a delicate texture that complements his explorations. “La Seizième” is a serene portrayal of one of Paris’s most affluent neighborhoods, with Rottmayer’s gentle touch on the piano building a sense of calm and elegance.

“Rue des Lombards,” named after a famous Parisian street known for its jazz clubs, brings the journey full circle. The swing created by Endres and Reid showcases the pair’s impeccable timing and joyful synergy, while Rottmayer and Johnson dazzle with thoughtful and well-constructed soloing.

In Being, Chris Rottmayer showcases his thoughtful and well-crafted compositions, inviting listeners to delve into the depths of jazz history and its ongoing evolution. The album displays excellent ensemble communication and masterful playing, all grounded in well-known harmonic frameworks. For those seeking an album that blends a reverence for tradition with innovative expression, Being is a captivating and essential listen.