With her latest studio outing as a leader, alto saxophonist and composer Nicole McCabe solidifies her position at the vanguard of contemporary jazz creation.
Renowned for her ability to balance tradition with modernity, McCabe returns with eleven new compositions of intense rhythmic substance, dominated by odd meters, syncopated bass lines, and complex polyrhythms. Combined with her modern, clear, and accessible melodic and harmonic perception, the music flows effortlessly, constantly renewing the listener’s interest with surprising turns.
She is flanked by an exceptional rhythm section: Yvonne Rogers (piano, synths), Kanoa Mendenhall (double bass), and Eliza Salem (drums) engage in equally creative roles, delivering compelling solos and vivid interplay with the protagonist, making even the most intricate complexity sound natural and inviting. The distinguished trumpeter Adam O’Farrill contributes extensively and catalytically to four tracks, sharing a profound musical affinity with McCabe. The ensemble is further enriched by guest appearances from Maya Paredes (cello), Christie Dashiell (vocals), and Justin Brown (drums), each on a different track.
Based in Los Angeles, McCabe has developed a rich, cliché-free personal lexicon. She handles it with notable economy; her phrases breathe, allowing space for emotional resonance to settle. Peaks often arrive through spiritual-hued tenutos, preferably in the altissimo register, bolstered by generous vibrato.
The influences of this gifted artist are manifold: from an essential study of the forefathers, Charlie Parker and Cannonball Adderley, and the guidance of mentors George Colligan and Alan Jones, to modern masters like Kenny Garrett and Steve Coleman (by our estimation), and peers such as David Binney and Caroline Davis. Her connections with collaborators like Logan Kane and Paul Cornish further inform her palette. As for Wayne Shorter and John Coltrane, their influence is considered a fundamental given.
These elements constitute the vibrant hues of “Color Theory”. Her robust and flexible sonority, alternating between “liquid” and “dry” textures, takes shape through a Selmer Mark VII and D’Addario reeds. Beyond her performing career, McCabe is also highly active in academia and university teaching.
Produced by Jason Moran and recorded at Bunker Studios in Brooklyn for the boutique independent label Birdwatcher Records -a label with an interesting catalogue– the album stands out for its artistic integrity over marketing hype. Notably, no major jazz outlets have published reviews yet, nor has McCabe updated her official site beyond social media mentions.
This voluntary presentation of such a magnificent album is therefore deliberate. Repeated listenings have yielded immense pleasure, as McCabe’s inescapable academic perfection serves the inherently playful and creative essence of this Musical Art. Kudos to these young artists and their collaborators!
Available on Bandcamp and all digital platforms (Deezer, Spotify, YouTube, etc.).