It’s rare that an album of music for a solo wind instrument is of much interest to anyone beyond those who play it. There are notable exceptions. Wadada Leo Smith has put out several breathtakingly beautiful solo trumpet albums. Peter Evans’ solo trumpet work is more spectacularly breathtaking (and electronically enhanced). And Natsuki Tamura’s solo trumpet albums are a lot of fun for those who appreciate his renegade extended technique and irrepressible sense of humor.
Nate Wooley is probably not the first trumpeter you’d think of doing a solo record, especially considering his dense and bracing recent output with his Columbia Icefield project. But he has a solo album (for trumpet and sinewave), a recording of Michael Pisaro-Liu’s longform, minimalist composition Stem-Flower-Root. It hasn’t hit the web yet, although there’s a live version from 2017 up at Soundcloud. The calm and unhurried development of the work might be reflected in Wooley’s upcoming gig on July 5 at 6:30 PM at Downtown Music Gallery, where he’s playing with Cuban saxophonist Hery Paz and drummer Tom Rainey. Jazz bassist Henry Fraser and Americana violinist Cleek Schrey make an intriguing duo afterward at 7:30; it’s a pass-the-bucket situation.
Pisaro-Liu’s work requires Wooley to sustain a series of simple tones using subtly different timbral approaches, and a changing series of mutes. If a reveille or fanfare could exist on Pluto, this triptych would be both. But it’s not all warmly immersive reflection: there are a few moments where the harmonies edge into unexpectedly acerbic territory, and there’s a joke about two thirds of the way in which, intentional or not, is too good to spoil.
The album also comes with a chapbook designed by Jessica Slaven, where in similarly uncluttered prose, Pisaro-Liu raises many provocative philosophical questions. Some are eternal, some more specific to the piece. To what extent does the architecture of musical composition mirror the symmetry of nature? Can a composition, or for that matter, a whole genre, have a genuine personality? What improbable practical lessons can be gleaned from music as rigorously structured and focused, yet as comfortably atmospheric as this?
The composer and performer also share an interesting dialogue concerning both the nuts and bolts of playing it, along with some of the philosophical ramifications.