In the City of Lost Things

always strong melodically.... enticing harmonic content

     

"His compositions, always strong melodically, lead listeners through a maze of unexpected twists punctuated with enticing harmonic content. His thirteenth album as a leader, "In the City of Lost Things" presents ten new compositions, all of them gems. Locascio enlists Richard Cholakian on drums and Thomas Helton on upright bass for the trio on this date. Cholakian and Helton have made a name for themselves as a sought-after drum/bass pair. They both possess a restless creativity that peaks their interest in a wide range of styles from avant-garde to Delta Blues. Teamed up with Locascio, you get an immediate sense of the group's genuine camaraderie. It's a well-matched ensemble and certainly one the more interesting trios around.

Here he capitalizes on the unique nature of this group by creating music with extended trio interplay both during the melody and on the expansive improvised sections. The centerpiece of this style comes early on the second track, “Sonia Braga”. Ms. Braga is a well-known Brazilian actress (well-known in Brazil, that is: her claim to US fame is “Kiss of the Spiderwoman”). The piece honors its namesake with a sultry groove that spans eight minutes. It features an electrifying Arco solo from Thomas Helton, which stands the track on its head most wonderfully.

The trio explodes on “Port of Call”. The piece gets an extra boost from the left-hand/bass doublings which contrast the spry melody. The solos all around are brief but potent. As evidenced the ever-shifting dynamics of the next track “The Wall of Sleep”, Locascio can masterfully create many moods within a piece. It is these sorts of variations in the pulse of his writing that contribute to such a rich experience for the listener.

One can always expect a beautiful ballad on any of Locascio’s albums. “In the City of Lost Things” does so with “Julian”. Again, the arrangements make this tune even more striking. Cholakian’s innovative brush work (not just on the snare!) counterbalances the arc of the song and ensuing solo. This may be the CD's strongest track, but I’m a sucker for a good ballad.

“Under a Pink Moon” is a nod in the direction of Bill Evans, particularly in the devices heard throughout his solo, yet the composition feels like something Herbie Hancock might assemble. Either way, it’s a wonderful representation of Locascio’s impressive pianism. The momentum continues on “Our Story” before concluding with a lively solo piece called “Hopalong”. Aptly titled and filled with a playful energy, it's a nice coda to an otherwise serious program. It also reminds us what a fine solo player he is.

One interesting aspect to this set of compositions is the use of odd meters throughout. Often such devices can seem deliberate to the point of being contrived. But in Locascio’s hands, the meter becomes completely germane to the composition. The opening track is in 5/4, as is “The Wall of Sleep”. The title track is in 11/4. These meter variations give pop to the individual tracks while adding life to the CD as a whole.

In the end, a Locascio CD is a guarantee of great playing, great compositions, and something you can revisit often. "In The City of Lost Things" is no exception. Highly recommended. - Andrew Lienhard houstonJazz.com

"When you hear a composition for the first time, the artists have to win you over twice, with their writing and their playing.This can be a challange, though not apparently for Joe LoCascio , whose In The City Of Lost Things succeeds on more than one level. His improvisations are often simple, sometimes intentionally repetitious and never uninteresting. When he feels adventurous, he might nudge his line into modal shapes, studded with dissonant clusters yet centered over a drone as if to keep his explorations anchored to the tune. He avoids chords with his left hand, preferring to arpeggiate the harmony and tie it into counterpoint with the right hand, which allows him to animate his legato phrasing with a suggestion of restless movement. LoCascio's compositions allow room for ideas to flow along a linear path, like a stream through stones that mark his changes. Meters slip in and out of 5/4 or even 11/8, though so smoothly as to not leave a ripple in their wake." - **** (Four stars!) Robert Doerschuk, DownBeat Magazine