(Le Chant Du Monde)
September 13, 2011
8.5
I’ve always had a certain weakness for jazz guitar. It began with an early introduction to the influential sounds of George Benson and Joe Pass. I loved the way every single note was articulated with such flawless diction. It gave credence to the idea that music is a language within itself. Each stroke was distinguishable from the next. To me, it was technical precision at its finest. But what made me appreciate it above all, were the feelings it could induce from its audience. There is certain warmth that can pour out of a guitar when playing jazz. Not to layer this in saccharine overtones, but a well-played chord progression has the ability to invoke something gleefully enchanting. This description may be a tad hyperbolic, but only slightly. Needless to say, in this instance, the elicitation of sentiment was my barometer of assessment when listening to the art of Gilad Hekselman.
Hekselman has been honing his craft, right below the surface, for quite some time, making his mark on the scene through various avenues. While his name may not elicit the same sort of jaw-dropping reaction of some of his colleagues, I, could not help but hold him to the same standard of critique upon finding his work being compared to that of the talented Pat Metheny and Kurt Rosenwinkel. With lofty expectations, I began to listen to his most recent effort, Hearts Wide Open. Instantly, there is a recognizable vibe that is both calming and lighthearted as the album is built around a collection of catchy melodies and incredible moments of improvisation.
After an upbeat, acoustic opening titled “Prologue,” the album jumps into the spirited, “Hazelnut Eyes.” Structurally, the song is molded in a succinct manner allowing for Hekselman to carry much of the heavy lifting. Because of this, we are allowed to engage directly with the master of ceremonies. He does not disappoint. His playing is incredibly sharp considering the energy he displays throughout. Immediately, the standard is set.
Again, showing off his penchant for technical acuity, Hekselman takes the forefront with ease on the brazen “One More Song.” The song packs a bit of attitude as Hekselman rides the upbeat rhythm with an obvious sense of confidence. Not to be left out, Mark Turner takes his opportunity for solo work and makes the best of it with an aggressive showcase of his talents, while bassist Joe Martin and drummer Marcus Gilmore only enhance the already stellar display at hand.
In a divergent show of subdued archetypes the song settles the pace on “Brooze.” It’s important to note that this track, while tempered, is far from despondent. Instead it emits a feel of tranquility, with sudden spurts of hopefulness, thanks to the insertion of a sudden rising major scale. Even during its most flash of restraint, the quartet keeps a positive outlook.
The album concludes just as it began with another acoustic set, titled “Epilogue.” It’s a fitting end as the minute-long guitar campaign is again aided by the upbeat whistling found on the opening track. Its contents can simply be defined as “happy.” It’s the summation of everything found before it. Completing a perfectly rounded narrative, the story closes on a high note, ending something quite special.
Compositionally, Hearts Wide Open is a blueprint for musical efficiency. The quartet does an incredible job of utilizing its individual and collective talents, avoiding the strain of overindulgent verbosity. Assisted by the talents of Joe Martin (bass), Marcus Gilmore (drums), and Mark Turner (saxophone), the album far outreaches their combined youth. But, at the core of it, this album is driven by the delivery of Hekselman. His sound is positively refreshing. He plays with the sharpness of an aged veteran and carries the optimistic spirit of a young soul. Jazz often maintains a level of solemnity fit for a funeral procession. With Hekselman, these moments simply do not exist. Jazz needn’t always be the embodiment of melancholy. For those moments of carefree pleasure, I suggest Hearts Wide Open.
Words by Paul Pennington
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