Rahel Talts appears to favour a certain level of blurriness on her cover arts; well at least since her debut release “Power of Thoughts”. An indistinguishable motion of a person over a grainy impression of a sunset pays tribute to the title of this release, while obfuscating it at the same time. Surprisingly, it is not her name that appears alongside “Back and Forth” over the image, but rather four additional names, those of the musicians that participated on this album, join hers at the very top. While not uncommon in jazz, it stands out in her discography, and it makes this release feel a bit unusual. It indicates a collaborative nature or basis of this release, even though all the music was composed by her. What also needs to be noted is that the number of musicians has shrunk from fourteen to five compared to the previous album “New and Familiar”. And this album does not come with any vocals. Together, this indicates a shift in direction.
“[T]his record takes You on a beautiful journey filled with some new or perhaps familiar sounds and feelings” has been the topic of the previous album, while this one “speaks of reminiscing about good old times, feeling nostalgic and remembering the places, people, and emotions from the past with gratitude, and even with a momentary wish to get these good old days back”. It is the same, but different? A glance over the new tracks reveals this new intention. It all starts with Pärnu, well-known as a popular summer holiday resort town, and from this starting point it pays tribute to what this album is all about; at least this is what the titles like “Time for Fun” or “Naujas Skyrius”, Lithuanian for “New Chapter”, indicate. And with all of this in mind, it is actually slightly odd how this album opens: with a minimalist play of drums.
No grand initial process of chords, no whirlwind of ideas that would grab the attention of the listener. No, Pärnu sets the initial mood with the sound of percussion: snare drum and bass drum. A piano joins in, and from there all progresses in a nice flow of melodies, though with a touch of melancholy one might add. Some minutes into the opener, a solo piano passage by Rahel Talts, initially accompanied only by drums, shifts the mood in a different direction. One immediately gets the feel commonly associated with jazz: this burst of energy, this cauldron of impressions merged into a strange but yet captivating whole. As the music continues and as it recites the initial idea, its new sound feels eased and less burdened. The flow is nicer, gentler, and familiar. It is as if one has become accustomed to a place and is now able to roam the streets, at ease with its flow, its irks and quirks. This new opening differs quite a lot from the one of “New and Familiar”. The absence of vocals has shifted the attention inward and more towards an interplay between the instruments. More contemplation and less celebration might be a way to describe the opener.
The album differs in other aspects too, presenting an angle previously left unexplored. This has partly to do with the guitar and how it has found its way into the songs. As a jazz album, the music offers certain freedom in expression and Rob Luft does take advantage of it and presents on numerous tracks his versatility in handling the guitar and playing some captivating solo parts. It adds a new voice to the arrangements. A distinct and fresh sound, and as the guitar takes hold of portions of the music, the character shifts noticeably. The occasional fast play, its “shrieks” and bursts of energy or layers of reverb, add tension and contrast to the atmosphere, which work very well on this release. As a metalhead and as someone familiar with the performances of Trey Azagthoth, Karl Sanders, John Petrucci or Chuck Schuldiner, I find Rob's playing really good, but at times a bit limited. There is nothing of the unpredictability sometimes found in Technical Death Metal or Progressive Metal, which would have spiced up the character of the performance a notch. Yes, this is complaining on a high level, but it is still worth mentioning. Is there any chance that Rahel Talts is familiar with most of these aforementioned musicians? Well, I doubt it, since her ship sails in the “normal waters” of the music scene, while I prefer stumbling around the rocky cliffs at its edges. As a point of reference, I would like to suggest: Death -- “Voice of the Soul”. But back to the topic at hand. The addition is a good idea and while the overall orchestration is now much smaller, this new expression more than compensates for it. Good examples for this are “Time for Fun” and “Going Back”. “Naujas Skyrius” comes with a comforting and warm atmosphere, as well as an intriguing melody, which really grabs the attention of the listener.
One person has been left a bit out of the discussion so far: Rahel and her piano play. Along with the drums, it is her playing that creates the basis for this album. Already in the opener, she establishes herself with an exuberant solo that showcases her technical prowess. And this is a slightly recurring theme: her bursts of virtuosity, creating dramatic impressions. In contrast, tracks like “Disappointment” and “Naujas Skyrius” feature more introspective moments, where her nuanced and emotional playing perfectly matches the mood. Generally, though, it is not music that circles around her and her performance, but rather a “together”, in which all of the instruments have a role to play as well as one or more moments to shine. Her role is twofold: to lay the foundation for the music and to amplify what the other instruments bring. And by this it matches the concept of this album.
Thirty-eight minutes distributed over seven tracks are offered. Sometimes driven by a piano or a saxophone or a guitar, but generally driven by something: be it towards a frenzy in “Time for Fun” or a rather contemplative tone like in “Disappointment”, the overall variation is fascinating and it leaves a lasting impression. The last track, “Jungle Party”, is, naturally, different again and stays true to its title. It has many more shifts in arrangements and beats, which gives it a slightly chaotic character.
What to make of it all, then? Is this release a step-up, or is it a step sideways? Up, in the sense that it builds on earlier patterns and enriches these with new ideas and sounds. Sideways, due to the intention to offer the listener music rich in harmony and fuzzy memories over which one can ponder and reflect. Her two latest albums are the same but different, which makes it difficult to put these conceptually into perspective. But maybe that is what she wants her music to be about. A warm presentation of jazz, reflecting on places and memories and what they leave behind. If only life were as easy and comforting as the flow of these melodies.
Favourite track: “Naujas Skyrius”