Peter Bernstein, Better Angels Review

by Jeff Becker

Better Angels is a brilliant new release from guitarist Peter Bernstein, showcasing the high-level interplay and synergy of an all-star quartet. Released by Smoke Sessions Records on September 27, 2024, the album features Bernstein’s unmistakable guitar voice alongside: Brad Mehldau on piano, Vicente Archer on bass, and Al Foster on drums. This album is built on the chemistry among these players, even though it’s their first time recording together as a unit.

Bernstein has long been recognized for his understated yet profoundly lyrical guitar style. Through his career he has collaborated with jazz legends like Sonny Rollins, Lou Donaldson, and Dr. Lonnie Smith, earning accolades such as DownBeat magazine’s description of his “mastery that is elegant, mellow, and gently swinging.” The same qualities are evident in Better Angels , supported by an ensemble of musicians who share his unique skills of melodic elegance, elevating this album into the realm of deep artistic communication.

Bernstein’s approach is one of melodic clarity and subtle harmonic richness. His lines are long and intervallically elegant, painting an intricate soundscape without ever feeling overstated. Throughout Better Angels , Bernstein provides cohesion to the ensemble, even as they venture into new musical territory. His ability to use space and his robust phrasing ensure that the music always breathes.

Mehldau’s contribution to the album stands out for his harmonic depth and for his sensitivity in complementing Bernstein’s ideas. The two share a musical connection that dates back to their time at New School, and this long history is evident in their interplay. Mehldau’s rhythmic feel is impeccable, blending polyrhythms and inventive inner voice movement to enhance each piece. His solos reflect his melodic sophistication and his remarkable ability to weave counterpoint, which becomes a key element of the quartet’s sound.

Archer’s role in grounding the ensemble cannot be overstated. His bass playing provides harmonic precision and a rhythmic foundation that allows the other members to stretch and explore freely. Archer has a forward motion over the pulse, creating a rhythmic elasticity that gives the music a vibrant, living quality. His sense of timing and use of space are integral to the fluidity of the group’s performance.

Foster brings his legendary drumming experience to the ensemble, adding a dynamic and responsive element to the group’s interplay. Foster’s ability to interpret rhythmically and orchestrate across the kit makes his drumming an essential voice in the quartet. He feeds new rhythmic motifs into the conversation, responding actively to the soloists while driving the music onward. His deep sense of swing and nuanced touch give each piece a sense of movement that is accessible, with an engaging and effortless rhythmic flow.

The album opens with “Perpetual Pendulum,” a relaxed yet intricate swing tune that highlights the quartet’s ability to build a piece to tell a story. Bernstein’s relaxed swing feel in his solo is met with Mehldau’s interactive comping, forming a subtle countermelody to Bernstein’s lead. Mehldau’s solo here is expressive, bluesy, and full of motivic development. His time feel is impeccable, and the interplay between the quartet members gradually brings the piece to a full, satisfying, storied climax

“Ditty for Dewey” is a mid-tempo swing number that is characterized by the conversational nature of the ensemble during the solos. Mehldau and Bernstein, in particular, engage in a listen-and-response dialogue that is very enjoyable to witness. Archer’s bass provides a steady heartbeat, while Foster’s drumming is responsive and full of delicate touches. Mehldau’s dynamic response to Archer’s bass during his solo demonstrates the intuitive musical connection between them, creating a storyline that feels organic and compelling.

In “You Go to My Head,” the ensemble’s interpretation of this well-known standard gives us an opportunity to hear their approach to classic material. The relaxed swing allows each musician to shine within the straight-ahead jazz vocabulary. Bernstein’s guitar solo is a beautiful example of storytelling through improvisation, seamlessly moving from lower to upper registers with a clear narrative arc. Mehldau’s harmonic support is just as engaging, as he provides subtle reharmonizations that add warmth and depth, coloring Bernstein’s melodies with an array of beautiful intervals.

The album’s title track exemplifies Bernstein’s identifiable guitar tone, which is rooted in the jazz tradition yet modernized with tasteful reverb and delay. His eq settings on the amp and the way his hands interact with the instrument bring out the acoustic nature of the guitar, striking a balance of clarity and warmth. Mehldau’s solo is a highlight, marked by cross-rhythms and harmonic inventiveness that enhance the tune’s ascending quality. The way Mehldau uses counterpoint and inner voice movement within his solo creates a richly textured musical experience.

“No Problem” is expressed with a Latin flavor, with Foster’s rhythmic creativity driving the samba-inspired groove. Archer’s harmonic grounding sets the scene, while Mehldau’s comping adds a lush harmonic layer that rounds out the rhythmic section. Mehldau’s solo, delivered with his deft use of melodic shapes and rhythmic inventiveness, shows his compositional approach to improvisation. Overall, the chemistry of the ensemble is excellent, with each player actively contributing to the evolving musical conversation.

The album was recorded at Studio A, Power Station, NYC, using a Neve 8088 console at 96KHz/24bit, produced by Paul Stache and Damon Smith. The recording quality is pristine, with a warmth that allows each instrument to be heard and appreciated. The clarity of the production enhances the subtleties in the quartet’s performance, from Mehldau’s delicate inner voices to Foster’s dynamic cymbal work. The engineering captures the intimate yet expansive feel of the quartet’s sound, giving listeners a sense of being in the room with the musicians.

The interplay between the instruments is one of the highlights of Better Angels . Each musician listens intensely, contributing to the evolving texture without overpowering one another. Mehldau’s comping is particularly important, his use of re-harmonization and rhythmic displacement adds tension and interest during Bernstein’s solos, pushing the conversation forward while giving it room to breathe while listening.

The solos on Better Angels  reflect the unique voices of each musician while contributing to the overall narrative of the pieces. Bernstein’s solos are lyrical, emphasizing melodic development and clear articulation. Mehldau brings a more exploratory approach to harmony, using motifs, rhythmic interplay, and counterpoint to build his solos. Archer and Foster also shine, their contributions adding the rhythmic groove that support and propel the music.

The album situates itself firmly within the jazz tradition with a distinct modern jazz approach. Bernstein’s and Mehldau’s modern approaches to the jazz language highlight their respect for the tradition alongside their desire to innovate. Foster’s drumming, which draws a direct lineage from his time with Miles Davis, serves as a bridge between the past and the present, bringing a historical depth to the quartet’s contemporary sound. Archer’s bass playing similarly anchors the ensemble, providing a harmonic and rhythmic foundation that ties together the inventive approaches of Bernstein, Mehldau, and Foster.

Better Angels strikes a beautiful balance of storytelling and chemistry among the quartet members. This celebration of artistry, chemistry, and the joy of making music together is evident throughout. The album is available in multiple formats—LP, CD, and HD audio—and is a must-listen for fans of virtuosic interplay and emotive jazz storytelling.