Pianist Russ Lossing’s astonishing quartet brings his idiosyncratic compositions to life on Metamorphism, with adventurous, expressive jazz that feeds the brain and the heart.

Russ Lossing
Metamorphism (Sunnyside Records)
A review
From the opening percussive moments of the first track, “Three Treasures,” on pianist Russ Lossing’s latest release, Metamorphism, you sense something feral, wild at heart, moving with a coherent but mysterious impulse. The long, complex head, the anxious rhythm, and the quartet’s attention to touch and timbre pull you into the flow and through dynamic improvisations that float free but hew to the interior logic of that impulse. You may not know where this is going, but these magnificent musicians—Lossing, Loren Stillman (alto and soprano saxophones), John Hébert (bass), and Michael Sarin (drums)—have already won your trust, and you know they will get you through the drama safely.

Lossing’s eight compositions reveal a deep intelligence at work, but the music never feels brainy. The four members of the quartet make this challenging material instantly and consistently accessible. They shape it with deep listening to one another and with a constant, confident attention to touch and timbre that fulfills its expressive potential. It doesn’t hurt that they are all splendid melodists.

The sense of open space is primary to Lossing’s compositions, and the music seems to float mysteriously a few feet above the ground. Check out the space created by his piano and Sarin’s whispering cymbals in the opening of the elegiac title track, an homage to the late Paul Motian, which is mystery made music. Lossing’s expressive solo turns on an unexpected note at around the 6:00 mark, and you have to wonder if he surprised himself and went with the flow, or had intended the change of direction. Either way, it’s an impressive inflection.

Stillman finds a vocal quality on his saxes that warms the proceedings, especially on the title track and the lovely “Mai.” Sarin gets to feature his melodic chops on the comical “Pileatus,” named for a species of woodpecker common to Lossing’s backyard. Hébert contributes a deep feel and strong rhythmic sense throughout, with nice solo work on “Mai” and “June Jig.” (I just recently learned that he was born in New Orleans and studied with bassist Bill Huntington there. No wonder I’ve always admired his work. Yet another stellar musician from the Crescent City.)

On the excursive “Blind Horizon,” a tribute to composer Andrew Hill, resolution appears to be unavailable, but also unneeded. The percussive “June Jig” injects an element of dance and fun. “Canto 24” is built on a 13-measure head, each in a different time signature, but the slippery terrain is navigated with aplomb by the quartet.

Kudos to the sound engineer Paul Wickliffe, who recorded, mixed, and mastered the album. Each instrument comes through with warmth and clarity, with a full, rich expression of its sonic subtleties. His reproduction of the bass and drums—so difficult to capture cleanly and to balance, and so out of whack in one way or another on so many recordings—is perfection. His skill contributes importantly to the success of the album.

Lossing’s thoughtful, intriguing compositions, the sensitive correspondence among the players, and their captivating improvisational developments make Metamorphism a noteworthy addition to the jazz catalogue. Play on, gentlemen!

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© 2021 Mel Minter