Alex Sipiagin, Horizons Review

Alex Sipiagin: Horizons of Ensemble Interactions

by Nolan DeBuke

Blue Room Music released Horizons, the latest release from the ever-creative trumpeter and composer Alex Sipiagin, in May 2024. Sipiagin continues to show why he is considered one of the elites of modern jazz with an eight-track sonic exploration that characterizes his musical style and vision.

Sipiagin’s career is a mosaic of collaborations with jazz legends like Dave Holland, Michael Brecker, and the Mingus group. Over the years, he has amassed an impressive discography, showcasing his talents as an ensemble leader and a sideman. His latest offering, Horizons, is the next addition in his artistic journey, reflecting the influence of his recent move from New York City to Italy after over 30 years in the United States.

This geographical and cultural shift is subtly woven into the album’s fabric, revealing a newfound openness to his compositions.  As Sipiagin notes, his improvisations and compositions have taken on more space, with moments of pause that allow him to process his emotions more thoroughly to convey them through the music with more detail. This approach can be heard throughout the album. Sipiagin’s music feels more comfortable and even-tempered than ever without losing the adventurous spirit that has always defined his work.

For Horizons, Sipiagin reunites with a formidable ensemble of frequent collaborators, including saxophonist Chris Potter, pianist John Escreet, bassist Matt Brewer, and drummer Eric Harland. This core group of musicians has previously worked with Sipiagin on various projects, and their familiarity with each other’s playing styles results in a cohesive and dynamic performance. The deep musical connection between Sipiagin and Potter, who have collaborated on 11 projects since 1997, is always a joy to experience.

The album opens with “While You Weren’t Looking,” one of two compositions by Pat Metheny. The track immediately sets the tone for the album with its eruptive modern jazz with a grounding in post-bop energy. The melody’s angular theme builds the energy propelled by Brewer and Harland’s in-sync rhythm section. Sipiagin and Potter engage in a thrilling improvisational dialogue before launching into their respective solos, where Sipiagin’s warm tone and dynamic expressions are fluid through the full range of his instrument. At the same time, Potter infuses his motifs with stunning rhythmic creativity and colorful intervallic relationships. Escreet’s driving piano lines add another layer of excitement to the solo section.

Metheny’s second contribution, “When Is It Now?,” is a beautiful ballad with Sipiagin and Potter delivering a moving, three-minute dialogue on the theme. The result is another fine example of the duo’s ability to converse and reflects Sipiagin’s more open approach to his playing on this project.

The heart of Horizons lies in Sipiagin’s six original compositions, each offering a unique glimpse into his creative mind. The first of these, “Overseen,” is a dual dedication to Wayne Shorter and Charles Mingus. The piece opens with Potter’s crystalline soprano saxophone weaving the melody through Harland’s gentle groove and Escreet’s interactive comping. The two horns engage in an ongoing dialogue throughout the piece, exploring various sections with fluidity and depth. Escreet’s use of the Prophet 6 synthesizer and Rhodes beautifully sets the mood and energy, adding layers of texture that enrich the performance.

“Clean Cut,” “Jumping In,” and “Lost” are all inspired by Sipiagin’s move to Italy, with each composition reflecting different aspects of this significant life change. “Clean Cut” is a multi-metered selection that evokes the emotional ups experienced during the move, with a line that shifts from 4/4 to 5/4 to 4/4, and an aggressive middle section that transitions into a lyrical 3/4-6/8 passage, creating a sense of nervous anticipation.

“Jumping In” draws inspiration from Hermeto Pascoal’s repetitive melodies and harmonies technique, combining 4/4 and 3/4 bars throughout the song and solo forms. Sipiagin, Escreet, and Potter maintain a thematic clarity through their solos. The piece is a lively exploration of getting involved with a new lifestyle and context, mirroring Sipiagin’s experiences.

“Lost,” on the other hand, balances 4/4 and 3/4 passages throughout the form, offering an exhilarating refraction of Dave Holland’s concepts. The piece’s whirling, contrapuntal theme is followed by fierce solos from Sipiagin and Potter, with Escreet’s synth chorus providing a new color and mood. Sipiagin describes the piece as a metaphor for the disorientation and discovery that come with moving to a new place, capturing the tension and excitement of the unknown.

The album’s centerpiece is the “Horizon” trilogy, which is divided into three distinct parts. “Horizon 1” displays the ensemble’s communicative skills in structured and free-form settings. “Horizon 2” shifts into a dark landscape with a texture reminiscent of Miles Davis’ In a Silent Way, where Escreet’s Rhodes and synth, Sipiagin’s Harmon-muted trumpet, and Potter’s soprano sax explore the art of space and activity. The final part, “Horizon 3,” has a shifting groove, with Sipiagin’s muted trumpet leading the way as the ensemble alternates between evolving passages and Harland’s intricate set work. This trilogy is a powerful exploration of the album’s overarching themes of change, reflection, and anticipation.

The album closes with “AIVA-tion,” a contemporary piece inspired by a local bar-café in Sandrigo, the village in the province of Vicenza where Sipiagin and his wife have settled. The piece captures the cheerful hubbub of the café, with its mesmerizing rhythmic structures and Escreet’s shimmering synth textures. The contemporary esthetics and today’s sound from outside the genre add to the album’s narrative, making it a fitting conclusion that bridges the ensemble’s dialog of tradition and innovation.

Horizons is a project that reflects Sipiagin’s remarkable compositional and improvisational skills. The album’s adventurous spirit and conversational approach by the ensemble make it another standout release in Sipiagin’s impressive discography. Sipiagin and his ensemble deliver an album that is virtuosic and emotionally engaging. Horizons is a must-listen for jazzers interested in the ongoing evolution of modern jazz, particularly with its strong emphasis on the post-bop contemporary lineage.