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

Vijay Iyer/ Linda May Han Oh/ Tyshawn Sorey: Uneasy (ECM)

A review of the first album from the pianist, bassist, and drummer's new trio

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.
The cover of Uneasy by Vijay Iyer, Linda May Han Oh, and Tyshawn Sorey
The cover of Uneasy by Vijay Iyer, Linda May Han Oh, and Tyshawn Sorey

A stark, black-and-white, distant photo of the Statue of Liberty; composition titles that reflect crises of infrastructure and systemic racism; an underlying tension in the music throughout; all these elements suggest that Uneasy, the new trio album by pianist Vijay Iyer, bassist Linda May Han Oh, and drummer Tyshawn Sorey, could be the definitive political work of this year. But describing this record—the first from this group and the first trio work from Iyer since 2015’s Break Stuffas merely political would be painfully reductive. Even though tracks like the Black Lives Matter-inspired “Combat Breathing,” which Iyer first performed in 2014, or the whiplashing micro-suite “Uneasy” do embody the turbulence of the last decade, the trio is pursuing something greater here.

That pursuit is of the near-boundless potential of new collaboration, in lockstep with the Nobel-worthy chemistry that Iyer, Oh, and Sorey demonstrate. Take “Combat Breathing” again. The piece begins with staccato riffing by Iyer, then crescendos and climbs like some great tower of antiquity, his hands sweeping great lengths of ivory at its peak. As Iyer’s playing descends, he finds a comfortable groove with Oh while Sorey urges them on from the kit; the two mirror each other’s riffs until she begins to vary the melody. The way Oh’s solo then evolves out of this moment, with the group’s dynamic shifts allowing it to blossom, feels organic and conversational. It evokes the highest ideals of creative music: not just taking turns but using one’s own to spur another’s.

Eight of the album’s 10 tracks are Iyer originals; the others are incredible reworkings of Cole Porter’s “Night and Day,” based off of McCoy Tyner’s work on Joe Henderson’s Inner Urge version (recorded in 1964), and Geri Allen’s “Drummer’s Song.” Iyer, Oh, and Sorey take Allen’s original off-orbit three-minute calypso and extend it into a seven-minute vehicle for unified group expression. Here, as elsewhere, the trio continually morphs as it explores. As past and future intersect, the possibilities of the present become limitless.

Learn more about Uneasy on Amazon!


Jackson Sinnenberg

Jackson Sinnenberg is a broadcast journalist and writer based in Washington, D.C. He serves as an editor for Capitalbop, a non-profit that focuses on presenting live jazz and covering the D.C. jazz scene through grassroots journalism. He’s covered the city’s local jazz scene since 2015 but has covered national and international jazz, rock and pop artists for a variety of publications. He graduated from Georgetown in 2015 with a degree in American Musical Culture and will gladly argue why Kendrick Lamar is a jazz musician. Follow him @sinnenbergmusic.