Irabbagast 032; Russ Johnson (tpt) Jon Irabagon (ts) Clark Sommers (b) Dana Hall (d); Chicago, IL, December 9-10, 2024; Someone to Someone/ Buggin’ the Bug/ Malört is My Shepherd/ At What Price Garlic/ Tiny Miracles (at a Funeral for a Friend)/ The Pulseman; 42:29. jonirabagon.bandcamp.com

Stuart Kremsky was the San Francisco “Short Takes” correspondent for Cadence magazine from 1979-2007. His reviews have appeared in Option, Sound Choice, Cadence, and the IAJRC Journal. He was a sound man at the fabled Keystone Korner and for over ten years was the tape archivist for Fantasy Records, where his production credits include boxed sets of Sonny Stitt, Dexter Gordon, the Modern Jazz Quartet and the Grammy-nominated Sam Cooke With the Soul Stirrers. Email skremsky1 (at) gmail.com
Tuesday, August 12, 2025
PlainsPeak: Someone To Someone
Multi-instrumentalist Jon Irabagon has been an extremely busy performer since his debut on record with the Chicago Metropolitan Jazz Orchestra in 1997. He came to prominence with his role in Mostly Other People Do The Killing, which began as a quartet in 2003. He’s appeared on numerous releases over the years, with 133 sessions listed in Tom Lord’s online Jazz Discography. Irabagon has returned to his Chicago roots with his latest project Someone To Someone, recorded with a quartet he calls PlainsPeak. Trumpeter Russ Johnson played on Irabagon’s debut as a leader (Jon Irabagon’s Outright!, Innova, 2008), and the rapport they display as the front line is impressive. They sound like a grittier version of the Ornette Coleman/Don Cherry partnership, a comparison aided by the trumpet, sax, bass and drums format of PlainsPeak. The impeccable rhythm team of bassist Clark Sommers and drummer Dana Hall has energized a batch of sessions since their first appearance together on Sommers’ 2012 album Ba(sh). Irabagon, who composed all the selections for this release, confines himself to the tenor saxophone. His tunes are always deeply interesting and unpredictable, both in their melodic wanderings and the arrangements. You can never be too sure when one of the horns or the bass will burst out for a solo. It’s a tactic that promotes dedicated listening on the parts of both the listener and the performers. One of the highlights of this consistently engrossing release is the appropriately somber Tiny Miracles (at a Funeral for a Friend), but there are many passages of unforced beauty throughout. Heartily recommended.
No comments:
Post a Comment