Peter Bernstein, Better Angels Review

Peter Bernstein’s Better Angels: Familiarity and Discovery

Peter-Bernstein-feature2-the-jazz-word

Peter Bernstein, Better Angels Review

Peter Bernstein’s Better Angels: Familiarity and Discovery

by Ferell Aubre

Peter-Bernstein-The-Jazz-Word-CDPeter Bernstein’s latest release, Better Angels, is an eight-song program by the modern jazz guitarist, demonstrating his technical finesse and deep musical sensitivity. Released on Smoke Sessions Records on September 27, 2024, the album brings together an extraordinary quartet: Bernstein on guitar, Brad Mehldau on piano, Vicente Archer on bass, and the legendary Al Foster on drums. Despite this being their first recorded collaboration as a group, the familiarity among the musicians is evident, creating a dynamic interplay that can be heard on each track. The recording, done at Power Station’s Studio A in NYC, captures the quartet’s synergy with impeccable clarity.

The backstory of these musicians enriches the music. Bernstein and Mehldau’s relationship dates back to their student days at the New School, playing alongside drum legend Jimmy Cobb. This long-standing musical camaraderie manifests in the effortless communication between Bernstein’s guitar and Mehldau’s piano throughout the album. Vicente Archer, whose recent collaborations with Bernstein have blossomed, is the harmonic anchor, weaving in and out of the rhythmic and melodic frameworks. Foster’s presence is particularly poignant—his decades of experience, including with Miles Davis, shine through with a sensitivity and orchestral approach to the drums that few can match.

“Perpetual Pendulum” opens the album with a revisited version of this swinging tune from Bernstein’s 2022 release. The quartet’s tight interplay is immediately evident as they navigate the relaxed swing feel, with Bernstein’s guitar tone projecting a warm precision that dances over the rhythm section. Mehldau’s comping provides the perfect cushion, adding harmonic depth, while Bernstein explores long-tone melodies that always find their logical conclusions.

“Ditty for Dewey” is a mid-tempo piece that showcases the ensemble’s storytelling ability. Each musician contributes to the flow of the performance, passing the lead from one to another with seamless fluidity. Foster’s rhythmic nuances and Archer’s bass lines keep the groove buoyant, allowing Bernstein’s guitar lines to shimmer and expand.

“You Go to My Head” finds the quartet reimagining this classic standard with a mid-tempo groove, turning its typically languorous feel into something more vibrant and spontaneous. Mehldau’s solo builds intensity, carving out harmonic spaces that Bernstein fills with intricate lines, all while Archer’s bass provides a robust foundation. True to his reputation, Foster adds subtle rhythm shifts that keep the listener engaged, making this rendition memorable.

Bernstein’s solo guitar work shines in “Born to Be Blue,” delivering a cool, laid-back interpretation of this jazz staple. His use of motivic development creates a layered, introspective atmosphere, allowing him to showcase his remarkable touch and phrasing. The result is a performance that feels personal, as if Bernstein is sharing a quiet moment with the listener.

The title track’s climbing melody and cyclic harmonic structure create a sense of movement and anticipation. Bernstein explores this pattern with a focused, melodic approach, while Mehldau’s solo builds with cross-rhythms, unexpected harmonic twists, and layers of counterpoint. The band’s chemistry is particularly evident as they play off each other, creating a rich and evolving musical landscape.

A smoky ballad, “Hazel Eyes” is a highlight for its emotional depth. The quartet’s communication is on full display as they transition through sections with organic fluidity. Bernstein’s solo emphasizes clarity and intention, crafting each phrase with precision. Mehldau responds to Bernstein’s motifs, mirroring and expanding upon them with a lyrical, expressive solo that brings the track to a captivating close.

This rendition of Duke Jordan’s tune, “No Problem,” is infused with a quasi-samba feel, showcasing Foster’s versatility. The Latin-infused groove allows the band to explore rhythmic intricacies, with Archer’s bass and Foster’s drumming providing a lively, interactive foundation. Bernstein’s and Mehldau’s solos intertwine, pulling rhythmic and melodic ideas from each other, making the track feel alive and ever-evolving.

Bernstein’s solo interpretation of J.J. Johnson’s “Lament ” closes the album. His ability to maintain a sense of forward motion through chordal figures and single-line phrasing is exceptional here. The noir-tinged performance evokes a beautiful moodiness and provides a fitting, reflective end to the album.

Better Angels is an outstanding addition to the modern jazz guitar catalog. The album bridges the familiar and the new, blending standards and original compositions in a way that allows each musician’s voice to shine while maintaining the unity of the quartet. The interplay between Bernstein’s warm guitar lines, Mehldau’s sophisticated harmonies, Archer’s subtle but commanding bass, and Foster’s dynamic drumming results in Better Angels being a standout release in his illustrious career.

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