10 Songs

EDITORS’ NOTES

Three distinctive musicians from different generations come together on this excellent 2013 release. Drummer Andrew Cyrille has played with many forward-looking artists over the years; he might be best known for his lengthy association with Cecil Taylor. Young pianist Kris Davis is an important figure on the New York jazz scene who has collaborated with such innovators as guitarist Mary Halvorson and drummer Tyshawn Sorey. Bassist and leader Eric Revis is a member of Branford Marsalis’ group, and he’s played with countless others. City of Asylum includes seven group improvisations, along with three compositions. The fluidity of the opener, “Vadim,” is striking; it immediately establishes just how interlocked the players are. On “Sot Avast,” Revis bows a downright catchy bassline under free drumming and atonal piano, while “Gallop’s Gallop” retains some of the bop feel of the Thelonious Monk original as it takes the piece in new directions. City of Asylum wraps up strongly with the title cut, where a high-register bass pattern and quiet tom drum create a backdrop for Davis’ mysterious piano.

EDITORS’ NOTES

Three distinctive musicians from different generations come together on this excellent 2013 release. Drummer Andrew Cyrille has played with many forward-looking artists over the years; he might be best known for his lengthy association with Cecil Taylor. Young pianist Kris Davis is an important figure on the New York jazz scene who has collaborated with such innovators as guitarist Mary Halvorson and drummer Tyshawn Sorey. Bassist and leader Eric Revis is a member of Branford Marsalis’ group, and he’s played with countless others. City of Asylum includes seven group improvisations, along with three compositions. The fluidity of the opener, “Vadim,” is striking; it immediately establishes just how interlocked the players are. On “Sot Avast,” Revis bows a downright catchy bassline under free drumming and atonal piano, while “Gallop’s Gallop” retains some of the bop feel of the Thelonious Monk original as it takes the piece in new directions. City of Asylum wraps up strongly with the title cut, where a high-register bass pattern and quiet tom drum create a backdrop for Davis’ mysterious piano.

TITLE TIME
4:07
5:12
7:12
6:16
7:39
4:39
8:28
3:09
5:47
6:37

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