Chant Triptych II
Iridium, 2018
8/10
The San Francisco Bay Area luminary Chris Trinidad has had a lengthy and impressive career, and here we’re looking at a second in a series of albums that reimagines Gregorian chant melodies under Trinidad’s exciting and daring vision.
“Sinite Parvulos” starts the listen with playful percussion from Mario Salomon and warm guitars as accordion acrobatics from Colin Hogan really highlight the cultured, jazz friendly atmosphere, and “Beatus Quem Elegisti” follows with Salomon’s bongo adding much spirit to Neelamjit Dhillon’s bansuri amid the textured, creative landscape.
In the middle, “Venite Filii” is a calm, emotive and initially bare album highlight that builds into a heartfelt meshing of guitars, basuri, accordion and percussion, while “Qui Timent” flows with no shortage of melody as Hogan’s skilled melodica playing makes a sizable impression.
As we approach the end, “Timeat Eum” resides in dreamy territory, where strategic maracas align well with accordion and melodica, and “Qui Fecerit” exits the listen very much indebted to classic jazz sounds, where Dhillon’s alto sax prowess and Trinidad’s deft bass playing interact with the frisky Brazilian influences.
In using instruments rooted in countries like Bulgaria, India, the Caribbean, and America, while also flirting with Argentinian, Brazilian and many other folk traditions, Chant Triptych II again illustrates the tremendous talent and diversity that has comprised Trinidad’s stunning catalog of music.
Travels well with: Wesli- Rapadou Kreyol; Cúnao- Rayuela