New from Jamie Masefield and the Jazz Mandolin Project: The Deep Forbidden Lake.

Definitions of "jazz" will always be somewhat arbitrary and individual. The haphazard sonic ramblings of a homeless street-musician saxophonist could be the inkling of Parker-esque genius, or maybe just an indigent honking out random notes for a buck. Even the ardent, self-professed jazz purist may well argue the legacy legitimacy of the current-day "Smooth Jazz" adorning shopping malls and urban office building elevators...

Not prone to contest the boundaries of what constitutes jazz (we'll leave that for other flame-retardant discussion boards on the 'net...) up to now, we've avoided mention of The Jazz Mandolin Project, arguably more "project" than jazz. That said, we've held Jamie Masefield and his side musicians in high regard, and hold nothing but admiration for what he's done for the instrument and mandolin frontier.

We've seen him play live twice, and his near-hypnotic hold on his audiences is a testament to the draw and energy the JMP generates. His recordings never have done justice to this powerful authority. It's not just his playing ability and prowess; it's the way his musicians seamlessly interact and create. (This simply must be witnessed real-time.)

With the release of "The Deep Forbidden Lake," this has changed to a new direction entirely. A fine collection of Northern latitude folk-rock favorites, the recording also features some fabulous renditions of jazz greats Django Reinhardt ("Tears," "Black and White"), Ornette Coleman ("When Will the Blues Leave"), Horace Silver ("Peace"), and Billy Strayhorn ("My Little Brown Book").

Texturally pure, three musicians Masefield (mandolins), Gil Goldstein (piano & accordian), and Greg Cohen (Acoustic Bass) fill this project with just the right notes in an ensemble "chamber" approach. Spared the sonic spontaneity and slap of the chronically Aleatoric J.M.P, this trio of artists administers paintbrushes rather than launches paintballs. Delightfully complex, the music never loses a sense of direction, intent, or purpose. Spontaneous, yes, but in a meticulously calculated way...

This is one we consider one of the year's better mandolin recordings. Accessible and very easy on the ears, Jamie's playing is buoyant and masterful, the arrangements refreshing and playful. Well-supported by the other instrumentalists, he breathes a fresh approach to a new breed of drumless, acoustic music.

Our (albeit selfish) wish would be that Jamie continues to trek this new direction, rather than a brief departure.

Selections:
Winterlong
Ol' 55
Hallelujah
Tears
Peace
Everything in its Right Place
My Little Brown Book
Tom Traubert's Blues
Black and White
I Will
The Deep Forbidden Lake
When Will the Blues Leave

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