ALCHEMY SOUND PROJECT

«Under the Surface»
ARC,
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Samantha Boshnack (tp.), Michael Ventoso (third), Erica  Lindsay (Lt.), Salim Washington (Lt., Clarion, Fla.), Sumi Tonooka (p.), Gregg August (cb.), Johnathan Blake (b.).
Conshohocken,
from 21 to 23-3-2024.

This exciting suite is titled “Under the Surface” because its composer, Sumi Tonooka, drew inspiration from a natural phenomenon that takes place—quite literally—”under the surface” of the earth: mycorrhiza. This is a symbiosis between different plant forms (specifically fungi and trees) that enables them to mutually support one another in absorbing nutrients from the soil and defending against pathogenic organisms. It is easy to grasp that, in speaking of plants, Tonooka is actually referring to the kind of interaction that *should* occur among human beings (but often does not). It is no coincidence that the suite was conceived during the COVID-19 pandemic. The musician—now nearing seventy, and of Japanese-American and African-American descent—is playing on home turf with this album; that is to say, she is releasing it through the record label she co-founded alongside tenor saxophonist Erica Lindsay (who appears here) and alto saxophonist Chris Burnett. This is no trivial detail, for the communal spirit that permeates the project—both on the strictly musical front (via the now well-established “Alchemy Sound” initiative) and on the production side—is perfectly mirrored by that botanical metaphor.

This is, after all, the magic of *Under the Surface*: composition and improvisation seem to nourish one another, much like in a mycorrhizal symbiosis.

The suite consists of two trio pieces and five tracks featuring the addition of wind instruments; yet, upon closer inspection, Sumi Tonooka’s musical world reveals itself as a unified whole—primarily for one reason: this is music in perpetual motion and constant evolution. As a pianist, Tonooka openly acknowledges her musical lineage in figures such as Mary Lou Williams, Stanley Cowell, and Thelonious Monk; however, I would argue that her creative mindset leans more toward that of Art Tatum, particularly in the sheer virtuosity and flair of her musical choices. This is clearly evident in the brilliant opening track, “Points of Departure,” which begins with a commanding solo by Johnathan Blake before unfolding against the tight, intensely vital rhythmic support provided by the entire rhythm section. It must be said, however, that throughout the entire album, it is Blake’s presence that proves to be fundamental; his authoritative bearing makes him almost a “co-director” of the session. The other trio piece—dedicated to Stanley Cowell—also has its roots firmly planted in the blues; it unleashes a contagious verve and further highlights the value of the interplay among the musicians. Even during performances featuring the horn section, Tonooka, August, and Blake form an unassailable core—as heard in *Savour*, which clearly evokes early Ellington, with Ventoso playfully utilizing the mute in the style of “Tricky Sam” Nanton; or in *Interval Haiku*, where one can savor the magnificent blend of the horns and the leader’s lively pianism—here more Monk-esque than ever—followed by Boshnack’s adventurous trumpet work (which finds a highly effective foil in Blake) and Lindsay’s incisive tenor saxophone. Tonooka also demonstrates her high level of craftsmanship in band composition—in the ballad *Tear Bright* and the intricate *Mother Tongue*—a compositional flair that brings the album to a beautiful close with the title track. This is, after all, the magic of *Under the Surface*: composition and improvisation seem to nourish one another, much like in a mycorrhizal symbiosis.

Giuseppe Piacentino | Musica Jazz