THE WALL STREET JOURNAL
‘ELEMENTS OF LIGHT’ REVIEW
MUSIC REVIEW
‘Breaking Stretch’ and ‘Elements of Light’ Review: Vibrant Vibes
New recordings from Patricia Brennan and Simon Moullier further advance the vibraphone’s emergence as an essential instrument in contemporary jazz.
By Martin Johnson
Sept. 21, 2024 at 7:00 am ET
Some of the most revered jazz musicians are vibraphonists; monuments could and should be built to honor Lionel Hampton, Bobby Hutcherson, Milt Jackson and Cal Tjader, and one of the most respected albums of the ’70s is “Crystal Silence” (ECM), a duet recording from pianist Chick Corea and vibist Gary Burton. Yet the vibraphone has largely remained a fringe instrument despite its importance on many classic discs. And great contemporary players like Stefon Harris and Steve Nelson notwithstanding, the number of notable vibists following in the footsteps of these legends had never compared with the armies of up-and-coming young trumpeters, saxophonists, bassists, drummers and guitarists.
In the past several years, however, a wealth of young vibraphonists—including Sasha Berliner, Patricia Brennan, Chris Dingman, Simon Moullier, Joel Ross, Yushan Su, Juan Diego Villalobos and Warren Wolf—have emerged, and some leading drummers like Tomas Fujiwara and Ches Smith are now doubling on the instrument. This reflects wider jazz trends in the 21st century. Rather than a succession of virtuoso solos, many songs are defined by complex ensemble passages filled with unique harmonies, innovative rhythms and unusual instrumentation. In this context, the rhythmic versatility and ringing tones of the vibraphone have become essential; it’s an instrument that can blend the sonorities and shifting functions within a band. Ms. Brennan and Mr. Moullier have new recordings that illustrate these capacities in exciting new ways.
“Growing up in Veracruz, Mexico, one of my earliest musical memories was watching the local marimba bands,” Ms. Brennan told me in a 2023 interview. “It was always exciting to watch two or three people with multiple mallets play this instrument and make it sound like a full band.” Her new recording, “Breaking Stretch” (Pyroclastic, out now), draws on those influences, as well as others from her youth—such as the horn-driven popular music of Blood, Sweat & Tears; Chicago; and Earth, Wind & Fire. She has added three horn players—saxophonists Jon Irabagon and Mark Shim plus trumpeter Adam O’Farrill—to the lithe, subtly rhythmic ensemble showcased on her acclaimed 2022 release, “More Touch,” which featured bassist Kim Cass, drummer Marcus Gilmore and percussionist Mauricio Herrera.
The results are scintillating. Ms. Brennan’s septet plays with an impassioned urgency on uptempo tunes like “Los Otros Yo (The Other Selves),” “Palo de Oros (Suit of Coins),” and especially “Five Suns” and “Manufacturers Trust Company Building,” which resemble an artful soundtrack to the scenes at the climax of a crime thriller. The softer tracks deftly layer horn lines with percolating bass lines, shimmering drum licks and additional percussion. Throughout, Ms. Brennan, who just turned 40 years old, takes stunning solos that add intensity to the faster tracks and delicacy to the slower ones.
Like Ms. Brennan, Mr. Moullier, who is 30, was born and raised abroad. A native of Nantes, France, he was a drummer who turned to vibes when he was 17 and attended a five-week summer camp at the Berklee College of Music in Boston. Mr. Moullier returned to the conservatory for undergraduate work and earned a master’s degree at the Hancock Institute of Jazz in Los Angeles. He was increasingly drawn to the fluid sounds of horns, and it’s evident in his elegant sound. At times on his early recordings, he seems to be quoting and varying saxophone lines from classic repertoire.
On his latest, “Elements of Light” (Candid, out now), he builds on this foundation by adding electronic elements. For instance, on the first track, “808,” he seamlessly melds electronic percussion (which is part of the inspiration for the title) with that of drummer Jongkuk Kim. On the title track, pianist Gerald Clayton guests in a unique piano, vibes and drums trio with synthesizer added in post-production. On Wayne Shorter’s “Oriental Folk Song,” bassist Rick Rosato and Mr. Moullier create sumptuous harmonies. Ultimately, though, “Elements of Light” presents an artist still exploring an impressive range of ideas that only begin to cohere into a singular vision.
Within this emerging panoply of vibraphonists, Ms. Brennan and Mr. Moullier offer contrasting styles on their instruments. She is very rhythmically precise, and her music both on the new recording and on her previous albums focused on percussive elements. Mr. Moullier has said in interviews that he was attracted to the melodic possibilities of his instrument. Each is contributing to an impressive diversity of approaches that range from Mr. Ross’s soulful harmonies to Ms. Berliner’s cutting-edge rhythms.
But the best proof of the vibraphone’s emergence may have come from a saxophonist. Last November, Ben Wendel presented “BaRcoDe,” a concert-length work commissioned by the Jazz Gallery in New York. He created a band with himself and four vibraphonists: Ms. Brennan and Messrs. Moullier, Ross and Villalobos. The results, especially the subtle rhythms and vibrant ensemble colors, were often mesmerizing. Afterward, he told me that he was attracted to the idea by the multitude of great vibraphonists on the scene, and the concert made him wish that he could tour with a band that featured such sounds.
Mr. Johnson writes about jazz for the Journal.