Caleb Wheeler Curtis: The True Story of Bears and the Invention of the Battery (Deluxe Edition)

There has always been room in jazz for those creative minds who can bridge the gap between the heart of tradition and the leading edge of change. In the world of saxophonists, Thomas Chapin, Arthur Blythe, Julius Hemphill or David Murray easily come to mind. Multi-instrumentalist Caleb Wheeler Curtis has similarly explored this terrain for years, and like his forebears, he often does his best work in a trio format. His August in March (Imani Records, 2023) was an imaginative romp with bassist Noah Garabedian and Vincent Sperrazza, and now he has done it again—this time with two separate trios, on the puzzlingly named The True Story of Bears and the Invention of the Battery. While its title may be unwieldy, the music fortunately is not. Indeed, this is a jubilant and invigorating release that can lay its claim to be considered alongside the best albums of 2024.

On this double-disc release, Curtis first employs the talents of bassist Sean Conly and drummer Michael Sarin—the latter being an oft-found partner in various ensembles from the aforementioned Chapin. The three bring loose- limbed flexibility to Curtis' cunning compositions, finding the ideal balance between meeting expectations and taking chances. There is a catch, however: the trio often sounds like a larger ensemble, as Curtis sometimes uses overdubs to allow him to bring four separate horns to the music: stritch, trumpet, sopranino and tenor saxophones. With adroit harmonies and effective counterpoint, Curtis utilizes this creative conceit to craft compositions that are intrinsically engaging and full of surprises. The music swings hard: whether on the sinuous melody of "The First Question" or the quieter lyrical strains of "Miedo," the songs pulse with life, and the three players possess an infectiously appealing synchronicity. There is also a strikingly personal quality to the music, as Curtis bookends the disc with spoken-word excerpts from his late grandfather, who also played saxophone. It is fitting that the one non- Curtis composition on the disc is a gorgeous rendition of Blythe's "Odessa," this time played solo (and without overdubs), allowing Curtis' expressive instincts to shine via an impassioned tribute to the alto sax legend.

Disc two, "Monk the Minimalist," is of course dedicated to Thelonious Monk, and it is just as strong as the first, with a trio equally as inventive. This time Eric Revis gets the bass duties, with Justin Faulkner on drums. And without any additional studio derring-do, here we get to hear Curtis unadorned, with a purity in his delivery that is unmistakable whether he is playing stritch, trumpet or sopranino sax. It is also the more untethered of the two discs, as Curtis often reaches into the stratosphere on his solos, fueled by the freedom the trio format affords and the captivating grooves churned out by Revis and Faulkner. The fervid intensity of "Played Twice" is a case in point, as Curtis' cascades of notes and surging overblowing bring added passion to the tune. Curtis honors the composer throughout with interpretations that carry Monk's melodic sensibility, but he is willing to range far afield at times, as on "Raise Four," which possesses a manic energy barely contained by Revis and Faulkner. "Ugly Beauty," a feisty duet with Faulkner, is a masterclass in improvisation, reworking and transforming the tune while still giving it its due. And there is the tender beauty of "Reflections," where Curtis' delicate trumpet work impresses with its succinct economy. These nine pieces (along with a much more subdued second take of "Raise Four") offer concentrated bursts of focused expression, perfect in capturing the spirit of Monk while still bearing Curtis' distinctive voice.

While Curtis has made several compelling recordings worth seeking out, The True Story of Bears is likely to be regarded as one of his best. Maybe the strange title will help it stand out amidst 2024's top albums; if so, that is something to celebrate.

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