Michele Rosewoman & Quintessence - Contrast High (Enja, 1989)

This post is by Scott and Dan

Michele Rosewoman (p, synth, vo); Gary Thomas (ts, fl); Greg Osby (as, ss); Lonnie Plaxico (b, elb); Cecil Brooks III (d); Eddie Bobé (bgo, guiro)

Recorded in July 1988

On Contrast High, Michele Rosewoman and her band Quintessence offer a fresh take on the quintet format. Rather than writing melodies to be played over a progression of chords, she creates more vertical, rhythm-based figures over which the quintet's voices enter and leave in various combinations. Compositions initially sound choppy, but the distinct focus on repetitive rhythms opens interesting new possibilities for improvisation. 

Lonnie Plaxico plays a significant role in making this music happen. He plays both acoustic and electric bass and provides the foundation for the vertical soundscapes revealed by the soloists. Cecil Brooks III and percussionist Eddie Bobé function in the same way. These foundation builders rarely solo (except for Plaxico's electric bass break on "Panambula" and his arco acoustic spot on "Akomodo"), but their presence is always felt. 

The two horn players on the date, Greg Osby and Gary Thomas, give Rosewoman the resources needed to extend the rhythmic patterns with both unison and harmonic voices. Between them, Osby and Thomas play four conventional jazz wind instruments, but long individual spots are generally avoided. Osby's clear tone on both alto and soprano contrasts with Thomas' gruffer tone on tenor. Perhaps that's what the album title, Contrast High, refers to. Thomas' flute is used skillfully as backing to Rosewoman's vocal on "Of All," the longest tune on the album and the place where solos are less restricted than on the other pieces.

Rosewoman is a gifted pianist with a mercurial right hand. Her playing on "The Source," "Akomodo" and "Panambula" are especially noteworthy. But the album is more about the compositions and group interplay than keyboard wizardry. She sings on two tracks, using her vocals as an additional instrument. 

Rosewoman made several albums during the 80s and 90s on Blue Note, Enja, and Soul Note. Over the past ten years, she has continued her exploration of rhythms especially in Cuban music. She has produced and staged concerts bringing together virtuosi from different musical traditions. It's a productive way to make contributions to jazz besides simply releasing new albums in sequence.