Review, photos and video by Dawoud Kringle

Billed as “The Sound of Jazz to Come,” it was with great interest that I ventured to NYC’s Lower East Side to attend the CD release party on this leg of the “Sight of Sound Tour” for Truculently Audacious; the band/project led by bassist/composer/performer Holly Ann Cordero.

Cordero started playing piano when she was five, bass at age 14, and guitar at 15. Her interest in all aspects of music has propelled her on a most interesting and fruitful musical journey. She claims to have been most inspired by John Cage and his idea that Life itself is music; and tries to capture that idea in her compositions.

As I walked in the Nuyorican Poet’s Cafe,  Truculently Audacious (Holly Cordero – bass, Drew Williams – sax, bass clarinet, Renato Diz – piano, and Steve Picataggio – drums) was finishing a spacey piece that ended on a G: with harmonics swirling about. Cordero continued with a composition she said was the only one her teacher liked. This was jazz; a walking bass line, wide voiced chords in a bright major key and a head played on a sax invoked a Wayne Sorter vibe that was perfectly suited to the world we associate with jazz.

‘Hit It,’ followed. This track from the CD began with a figure that suggested modal jazz, and morphed into a more complex harmonic undertaking. During Cordero’s solo, the piano decided to partly forgo the usual accompaniment and plucked atonal splashes of sound on the piano strings, which became Cecil Taylor-esque clusters. Cordero forged ahead either holding her ground with the song, or occasionally responding to the pianist’s abstractions.

The next song “Ballad #1” (many of her pieces have generic titles). This was something like a middle ground between Mingus and Palle Mikkelborg (or perhaps Michel Legrand). It was quite beautiful, and perhaps deserved a title suitable to its beauty.

Then they played a swing. This started as a swing, and went in some unexpected directions. But it still swung, no matter what.

After a break (which was longer than expected – but this always happens with these gigs), they returned with “Samba #2.” They took the samba form to its furthest limits, and played it with an astonishing passion.

They continued with ‘Kifa‘ (a Swahili word meaning death). Holly spoke the poem in Swahili while the band offered sounds and occasional unearthly noises  as accompaniment.  A rubato in D began to emerge. This almost became an ostinanto, but Cordero brought out a cello type arco statement, and the piano answered her with chimes and bell like tones that gave way to deafening shrieks and howls before returning to its chimes.

With little warning, the cacophony resolved itself into a jazz piece. It was a lament that suggested a subtext of optimism and joy.

They finished with two pieces one was another piece that reminded me of Wayne Shorter. This flowed into the second piece; an uptempo Latin jazz that glided effortlessly.

Cordero plays with the authority and sensitivity of a seasoned musician twice her age. Her compositions are always interesting, and while pay tribute to the classical forms of jazz (one hears Shorter, Mingus, Ornette, Monk, etc. in them), always seek to extend them, rather than respect their boundaries. This is original music in a real sense of the term. Williams plays his instruments marvelously, with a deep understanding of the music. Personally, I really liked his bass clarinet playing. Picataggio is an excellent drummer; very capable in every situation, communicates well with the musicians, and responds nicely to the music and its moods. Renato is an incredibly imaginative and adventurous pianist. In fact, he was downright unpredictable. He has an excellent understanding of the inherent acoustic nature of the piano and knows how to coax a variety of tones and moods from it.

Keep your eyes and ears on Holly Cordero and crew. Great things are happening.

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CD Review: Holly Ann Cordero…”There is more to music than we hear everyday.”