Pianist Danny Green's relationship with strings began on his 2016 release, "Altered Narratives", which we had written about here. In that album, Green had used strings in three tracks. Now on "One Day It Will", that relationship expands, acquiring more permanent or rather permanent features.
Danny Green is a pianist strongly influenced by Bill Evans and some recordings of Evans, such as "Bill Evans Piano and Orchestra / The V.I.P.s Theme"[ MGM, 1963] and "Bill Evans Trio with Symphony Orchestra" [Verve, 1966] for example, which must have lived on his turntable. Naturally, the influence and the reference are just that because Green remains a talented composer with a view and a vision in what he delivers. And here in "One Day It Will", his vision can be condensed to what I would say is the word "beauty." In the production of the music, that is, leans gloriously towards the beautiful (either the classic, the romantic or the modern).
Green supporters on this trip are his permanent collaborators (bassist Justin Grinnell and drummer Julien Cantelm) , while next to them, on the same podium, the string quartet, with Kate Hatmaker - violin, Igor Pandurski - violin, Travis Maril - viola and Erica Erenyi - cello. With the recordings having been made in the California cities of Glendale and Encinitas last summer, "One Day Day it Will" is a different kind of jazz album - different from what usually comes to our ears today. This is because of the strings, on a through-composed basis and not occasionally, give it another color.
Apart from the playing, the techniques that are preferred for the various phases of the compositions (pizzicato for instance), the one that dominates the album of Danny Green are those compositions. There is a lot of work and there, upstairs, all the virtues of the composer and the instrumentalists are condensed. Thus the other tracks are allowed to stand out - low-key, more melancholy and more gentle and dancing, showing that Green has classic swing in his blood as well as the blues, ballads and sounds of gospel, adjusting each in his own actions according to the goal. And it's just these adjustments where the album catches its peak on "Snowy Day in Boston" and "Lemon Avenue."