Marc Copland and Mark Feldman need no introduction---veterans of the NY jazz scene, they have contributed for years to the development of this music in America and Europe. Both members of John Abercrombie’s quartet, they spoke of playing together many times, finally doing so in 2022 and 2023, with European and American performances and recording sessions in France and Germany. The two have a remarkable way of weaving the colors of their instruments together, blending to create textures rarely heard when a violin is incorporated into a jazz group. The violin and piano frequently play melodies together, creating a uniquely beautiful sound (for example, Greensleeves and Vesper). Both players are comfortable with modern approaches to improvisation as well as the traditional roots of jazz.

Marc and Mark are supported here by two rhythm sections. Veteran Drew Gress (bass) and the late Anthony Pinciotti (drums) played in the Fattoria Musica sessions, with Gress contributing Like it Never Was. This recording is dedicated to drummer Pinciotti, a fixture on the NYC scene, whose list of credits includes Copland, Abercrombie, James Moody, and Spike Wilner. A younger rhythm team, bassist Felix Hankelhausen and drummer Jonas Burgwinkel, played the sessions at La Buissonne. Two of the busiest musicians in Europe, their skill, empathy, and understanding of the group’s concept is obvious ( Afro- Blue, for example.) The band in this formation also recorded another Gress composition, Vesper.

A few words about the tunes:

Greensleeves---The shimmering beauty created by the violin and piano are on full display. Afro-Blue---The group explores this Mongo Santamaria composition in an unusual way, utilizing colors, space, and harmonic and melodic freedom.

Vesper---A beautiful waltz by bassist Gress, with unusual harmonic movement and a gorgeous melody, which fits the violin / piano sound perfectly

Alone Together---A standard that shows off the improvisational skills of each musician. The Sun at the Zenith---This Copland composition takes its title from a searing protest against the French occupation of Algeria by Jean-Paul Sartre (see the introduction to Damnes de la Terre). A heartfelt protest against imperialism, the tune is in 5/4 time and features an expressive melody over an ostinato-like rhythm that adjusts pitch as it cycles through the chord progression.

Nardis—Copland’s unusual treatment of this jazz standard has appeared before, in quartet with saxophonist Robin Verheyen (on the album “Someday”). Here the violin adds new textures and colors.

Like it Never Was---The pizzicato treatment of the melody by bass and violin together is an unusual touch. This Gress tune is built on a kind of cantus firmus, a repeating bass line that descends as the melody weaves its bluesy textures on top. As he so often does, Copland views this repeating, descending bass line as an opportunity to weave unusual harmonic textures in the clouds above. Greensleeves/reprise---No melody, just a wistful elegy to end the album.