MUSIC REVIEW BY Thierry De Clemensat, Paris-Move
5 STARS
Let yourself be drawn under the spell of this outstanding saxophonist, who immerses the listener in a strain of jazz that lightly nods to New Orleans while boldly engaging with an ultra-contemporary vision of her art. The rhythmic architecture drives the point home, reinforced by elegant, poetic winks to the past, none more striking than the album's magnificent second track, "ShouldaCoulda." It is here that Kate Olson also reveals herself as a major composer, capable of painting her deep inner landscapes onto the page and inviting us to travel through her many sonic worlds.
Under the guise of leading us onto familiar ground, the composer and musician deliberately blurs the trail, unfolding a music that is at once complex and radiant. She leaves generous space for every artist involved in the album to speak, and they seize it, delivering performances that are as persuasive as they are nuanced. Olson's international career continues to expand, marked by concerts in Russia, Latvia, Turkey, Switzerland, South Korea, Cuba, and Slovakia. Along the way, she has shared the stage with an eclectic and formidable list of collaborators, including Terry Riley, Pauline Oliveros, Bobby Previte, Skerik, Patricia Barber, Elvis Costello, Brandi Carlile, Sir Mix-a-Lot, the Seattle Repertory Theater, Café Nordo, the Seattle Repertory Jazz Orchestra, and the Seattle Symphony Pops, among others.
On electric bass, Tim Carey brings a tonal palette that proves an ideal foundation for Olson's compositions. Like many of her peers, Olson has chosen to include a piece by Alice Coltran, "Translinear Light." One immediately understands the logic of this choice. Throughout the album's earlier passages, echoes of Coltrane's aesthetic emerge: clear influences from classical music, an impulse toward structural complexity, and an ever-deepening spiritual rigor that commands respect.
How can one fail to be impressed by such an album? It may not appeal to everyone, but listeners with broad musical appetites, those who relish having their certainties challenged, will find here a feast of rare quality. This, after all, is what art should aspire to be: not necessarily comfortable or accommodating. Kate Olson understands this perfectly, revealing her poetic intent gesture by gesture, turning the listener into an active participant, eyes wide with wonder at what they are hearing. Even the album's elegant cover art leaves little doubt about its contents, while the grand, meticulously crafted mix further elevates the experience. There is real pleasure in allowing oneself to be surprised by the creative vision of another artist.
Having known nothing of this musician beforehand, I found myself swept up in the whirlwind of her compositions, where the art of beauty meets the art of creation. One senses a deep commitment to freedom, an axis around which each musician in the ensemble is allowed to orbit. The album is both intelligent and striking, defining, at least to my ear, the essence of Kate Olson's artistic identity. Once again, the choice to rely primarily on acoustic instruments brings warmth and clarity, lending the music a legibility that enhances its emotional and intellectual impact.
If you plan to add a few CDs to your collection in 2026, this one should rank among your best possible choices. And if you happen to live near Seattle, the ultimate recommendation is simple: go hear Kate Olson live.
Let yourself be drawn under the spell of this outstanding saxophonist, who immerses the listener in a strain of jazz that lightly nods to New Orleans while boldly engaging with an ultra-contemporary vision of her art. The rhythmic architecture drives the point home, reinforced by elegant, poetic winks to the past, none more striking than the album's magnificent second track, "ShouldaCoulda." It is here that Kate Olson also reveals herself as a major composer, capable of painting her deep inner landscapes onto the page and inviting us to travel through her many sonic worlds.
Under the guise of leading us onto familiar ground, the composer and musician deliberately blurs the trail, unfolding a music that is at once complex and radiant. She leaves generous space for every artist involved in the album to speak, and they seize it, delivering performances that are as persuasive as they are nuanced. Olson's international career continues to expand, marked by concerts in Russia, Latvia, Turkey, Switzerland, South Korea, Cuba, and Slovakia. Along the way, she has shared the stage with an eclectic and formidable list of collaborators, including Terry Riley, Pauline Oliveros, Bobby Previte, Skerik, Patricia Barber, Elvis Costello, Brandi Carlile, Sir Mix-a-Lot, the Seattle Repertory Theater, Café Nordo, the Seattle Repertory Jazz Orchestra, and the Seattle Symphony Pops, among others.
On electric bass, Tim Carey brings a tonal palette that proves an ideal foundation for Olson's compositions. Like many of her peers, Olson has chosen to include a piece by Alice Coltran, "Translinear Light." One immediately understands the logic of this choice. Throughout the album's earlier passages, echoes of Coltrane's aesthetic emerge: clear influences from classical music, an impulse toward structural complexity, and an ever-deepening spiritual rigor that commands respect.
How can one fail to be impressed by such an album? It may not appeal to everyone, but listeners with broad musical appetites, those who relish having their certainties challenged, will find here a feast of rare quality. This, after all, is what art should aspire to be: not necessarily comfortable or accommodating. Kate Olson understands this perfectly, revealing her poetic intent gesture by gesture, turning the listener into an active participant, eyes wide with wonder at what they are hearing. Even the album's elegant cover art leaves little doubt about its contents, while the grand, meticulously crafted mix further elevates the experience. There is real pleasure in allowing oneself to be surprised by the creative vision of another artist.
Having known nothing of this musician beforehand, I found myself swept up in the whirlwind of her compositions, where the art of beauty meets the art of creation. One senses a deep commitment to freedom, an axis around which each musician in the ensemble is allowed to orbit. The album is both intelligent and striking, defining, at least to my ear, the essence of Kate Olson's artistic identity. Once again, the choice to rely primarily on acoustic instruments brings warmth and clarity, lending the music a legibility that enhances its emotional and intellectual impact.
If you plan to add a few CDs to your collection in 2026, this one should rank among your best possible choices. And if you happen to live near Seattle, the ultimate recommendation is simple: go hear Kate Olson live.