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

Tomas Fujiwara: Triple Double (Firehouse 12)

Review of album from adventurous drummer

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 Tomas Fujiwara album Triple Double
Tomas Fujiwara album Triple Double

Tomas Fujiwara’s sextet is named Triple Double for a couple of reasons. It is composed of three instrumental pairings: guitarists Mary Halvorson and Brandon Seabrook, horns Ralph Alessi (trumpet) and Taylor Ho Bynum (cornet) and the drumming duo of Fujiwara and Gerald Cleaver. Then there is the fact that the Tomas Fujiwara Trio includes Seabrook and Alessi, and he has played so often with Halvorson and Bynum together in larger ensembles (including Illegal Crowns and the Thirteenth Assembly) and in each other’s bands that their trio interaction happens organically.

While all six musicians travel in similar circles and are stylistically disposed toward consonance more than contrast, their collective talent and Fujiwara’s innovative leadership make for a tonic of unpredictability. The leadoff track, “Diving for Quarters,” highlights the pairs—the guitars on their own for the first 90 seconds, horns jousting in the middle, drum beats holding sway at the end—while “Blueberry Eyes” and “Pocket Pass” strut the brutish flair of a heavy rock ensemble flirting with outside jazz. Two guitar-drum duets, both entitled “Hurry Home,” portray the nuanced differences inherent on the disc. The Seabrook-Cleaver “B/G” version is more delicate, utilizing effects and brushes, while the Halvorson-Fujiwara “M/T” version deploys echoes and beats to derive a similarly ominous overtone.

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