PAPATAMUS REDUX

ORBIS MUSIC (NO RECORDING DATE)

The best way to describe bassist’s Bruno Raberg’s Evolver is to use three other words that begin with the letter “E” — episodic, evocative and empowering. Episodic, because the atmospheric nature of the ten Raberg originals seem like loosely connected episodes, balancing somber ensemble playing with uplifting solos. Compositions such as “Sunday,” “Elegy” and “Erebus” could easily be combined into a suite, much like his four-part “The Echoes Suite.” Evocative, because the music brings strong images to mind. “Mode Natakapriya” conjures up scenes from film noir classics. “Stiltje” brings images of a lone survivor searching for home. With its big symphonic sound, “Peripetela” could easily be the overture for an epic film. Empowering, because Raberg’s arrangements provide opportunities for soloists such as guitarist Nate Radley, saxophonist Allan Chase, flutist Fernando Brandao, pianist Anastassiya Petrova, trumpeter Peter Kenagy and Raberg himself to set themselves apart from the often dark and lush arrangements. There are also outstanding solos from saxophonist Walter Smith III on three selections and pianist Kris Davis on “The Echoes Suite.” If you are a fan of modern third-stream jazz played by a small ensemble that sounds much larger than it is, you may find Evolver, entertaining and engrossing (two more “E” words for you).  For me, the listening experience can best be described by two other “E” words — elusive and exhausting.

BOTTOM LINE:  Following releases with pianoless quartets, wind ensembles, string ensembles, septets and more, bassist Bruno Raberg returns to a format he pursued on his 2002 recording — the tentet. The results this time around are a bit more daunting with music that is more suspenseful than swinging and more moody than memorable.