Simón Willson

Bet – Live at Ornithology

 Endectomorph

Chilean-born, NYC-based bassist Simón Willson brings us a live date recorded at Brooklyn’s vibrant Ornithology Jazz Club. Willson uses the title, Bet, to connote the kind of risk-taking found in the live setting. Willson, of course, thrives in having held down the bass responsibilities for the likes of adventurers Dave Douglas, Ethan Iverson, Jason Palmer, and Frank Carlberg, among others. The names in this quartet will likely not be nearly as familiar to most, but these are kindred spirits who have logged many hours together on various bandstands. They know each other’s moves well, and Willson trusts them to bring power to both the ensemble parts and their individual statements. They are tenor saxophonist Neta Ranaan, who plays on all but one track, pianist Evan Main, and drummer Kayvon Gordon. This is a close-knit group that has performed in various settings throughout New York since 2018, so they were primed, knowing the session was being recorded.

“Business Card” opens with the sweet tones of Ranaan, who unwinds his story fluidly and energetically over a propulsive rhythm section, gaining momentum as the piece evolves. Main jumps into the fray, deliberately at first before breaking into a series of rippling runs. Willson and Gordon maintain the brisk piece, and the quartet reprises the theme, climaxing with a flourish. “Jog” is designed to mirror the rhythms of just that, running at a leisurely pace. Ranaan and Main both contribute solos that alternate sustained sequences with stacatto passages to represent breathing and movement in a vigorous section mid-piece while the bass-drum tandem delivers a mostly steady cadence. “Feel Love” is the lone trio piece, and it nods to Willson’s ancestry by reinterpreting the traditional Chilean folk rhythm known as cueca. Main’s lyricism on the ivories is exceptional here.

“Have Cereal” is a curious title. Ranaan’s opening burst resembles a long yawn from one emerging from bed, but the tune quickly gathers a swinging gait as the saxophonist goes into storytelling mode and his rhythm mates stay busy as if cooking bacon, eggs, sausage, and whatever else, not anything like boring cereal. Main delivers a glistening turn over Willson’s walking bass line, leaving space for Gordon to state his case authoritatively, bringing it to a volcanic finale. “Three Legged Stool” is a flowing ballad, offering a nice respite led by Ranaan’s Ben Webster-styled tones and the rhythm section’s simpatico accompaniment, highlighted by Willson’s superb pizzicato solo and Main’s delicate turn.

Willson leads us articulately into “Get a Room,” his tribute to Ornette Coleman that the ensemble embraces with rapid-running melodies and a confidently swinging posture. The title track closes with Willson’s analogy to gambling as he anchors the turbulent interplay between his three associates, who deliver the suspense and tension associated with such, improvising their way through the highs and lows. Main is especially effervescent here, inspiring Ranaan to reach ever higher in his turn. The engine room, meanwhile, glows white hot. The audience seems awestruck at first with the rather calm ending after such fury but soon roars their approval.

A recording can only do so much to represent the thrill of live jazz, but this one does a fine job as the intensity just keeps building through the performance. Kudos to Willson, Ranaan, Main, and Gordon.

– Jim Hynes

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