The Most Beautiful Sounds Next to Silence

Trumpeter and composer Ralph Alessi’s lovely new release, It’s Always Now, offers a special and intimate musical atmosphere that distinguishes it from past ECM works such as Baida (2013), Quiver (2016) and Imaginary Friends (2019). Here, Alessi is found at the helm of a classy new European-American quartet composed by German pianist Florian Webber (who co-penned three cuts), Swiss bassist Bänz Oester, and New Haven-born drummer Gerry Hemingway.

There’s no rush in the music but rather a spontaneous urge to connect and communicate by telling beautiful stories with both composed and improvised sequences. The first two numbers are penetrating piano-trumpet duets that reveal a perfect balance between vulnerability and strength. The opener, “Hypnagogic”, carries a strange dreamy feel, living not only from the trumpeter’s stunning range and strong narration, but also Webber’s impeccably textured comping, whose delicacy continues to “Old Baby”, a bearer of the pure, ethereal ECM sound.

“Migratory Party” flows effortlessly with a parallel three-note figure, brushed drums, and confident bass trajectories in support. The docile danceability of “Residue” finds the four musicians in close communication - Alessi and Webber share synchronicity in the movements while Oester and Hemingway keep the bottom ambulatory and focused. Also taking the shape of a graceful dance, “Hanging by a Thread” displays an iterative balance in the groove and a deceptively simple melody. 

“His Hopes, His Fears, His Tears” is another compelling narrative with much beautiful insight and strange beauty. “It’s Always Now” feels like a distant Eastern chant with many possibilities to explore. If Webber’s prepared piano sounds like a gong on this one, then on “Diagonal Lady”, he participates in an enchanting flow that starts off with Oester and sort of dissolves after a while. Alessi’s crystalline notes illuminate the way like powerful rays of light. His piercing sensibility and intricate lyrical language gains preponderance with the breathy, hushed murmurs of the double bass and the subdued luster of the drums. Having said that, “Portion Control” smears the process with tension and disquietude.

This album makes the listener all the more grateful with its remarkable breath and scope, providing a marvelous sense of fulfillment. 

(https://jazztrail.net)