So It Goes

Seattle saxophonist Kate Olson's new record is enjoyable and entertaining. For me, So It Goes is identified by its chord less instrumentation (which means no comping or chordal instruments like piano, guitar, or vibes.) The record begins with Olson trading with drummer Evan Woodle on a bluesy Mingus-ish blues. This is an interesting and fun start to the musical proceedings. The electric bass of Tim Carey gives the
record a more contemporary sound, but the chord less quartet keeps the music adventuresome. Pianist Wayne Horvitz plays piano on three tunes which guarantees some adventure, and Geoff Harper plays acoustic bass on two tunes ("So It Goes" and "Translinear Light") creating a different texture within the band. Brass player (trumpet and trombone) Conner Eisenmenger is Olson's melodic foil in the core quartet. Both Carey and Woodle leave ample space within the chord less quartet, so the soloists are given a wide-open road to traverse. Chord less instrumentation can be a tricky one for bassists and drummers,
the instrumentation creates more harmonic responsibility for us. It also encourages us to use bigger sounds and busier comping in the extra space, but this is a fine line to walk. The three tunes with Wayne Horvitz are my favorite cuts on the record ("So It Goes," "Translinear Light," and "Afterthoughts.") Alice Coltrane's "Translinear Light" is the longest and most adventuresome cut on the record, and the musical centerpiece of the recording. The contemplation of "Pink Mountain" is beautiful, as is the quirky playfulness of "All Pear Shaped." Woodle's playing on the closer of "Weigh Out" is a fun conclusion to an adventurous and well-balanced record. Although I don't often comment of album art, the cover and inside artwork of Haren Vakil is very cool and representative of the record's music.