Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

Josh Sinton’s Predicate Trio: making bones, taking draughts, bearing unstable millstones pridefully, idiotically, prosaically (Iluso)

Review of the baritone saxophonist and bass clarinetist's "comeback" 10th album

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Cover of making bones... album by Josh Sinton's Predicate Trio
Cover of making bones… album by Josh Sinton’s Predicate Trio

Baritone saxophonist and bass clarinetist Josh Sinton—a steady presence in Brooklyn’s avant-garde jazz scene since the early 1990s—caused a bit of a ripple recently when he announced he was taking a hiatus from music. Citing the rigors of making a living as a musician while supporting a family, Sinton concluded that a career reassessment was essential. His self-imposed break was evidently short-lived, however, because his comeback album (and 10th album as a leader) has already arrived, bringing with it a rush of euphoric melody and bracing free improv that suggests a reevaluation break for artists isn’t a half-bad idea.

Like its sprawling mouthful of a title, this album bursts out of the gate as Sinton and his high-velocity Predicate Trio—rounded out by cellist Christopher Hoffman (Henry Threadgill) and drummer Tom Rainey (Tim Berne) and making its recorded debut here—chaotically yet meticulously zigzag through six compositions and three improvised pieces with a fierce, in-your face attack that’s almost punk rock. With Rainey’s jagged, multi-directional frenzy of beats and the bow-sawing and plucking of Hoffman’s cello serving as anchors, Sinton runs wild, switching off between bari and bass clarinet for low honks and piercing screams.

Start Your Free Trial to Continue Reading

Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music's best journalists and critics.
Originally Published