The program presented Iyer in five contexts over six sets across two eveningstwo solo sets as centerpiece each night, book-ended by duos and trios, covering a new pairing (duet with trumpeter Wadada Leo Smith) and a long-running duo (with poet/spoken word artist Mike Ladd), a post-bop focused trio (with Steve Crump and Marcus Gilmore), and a fusion of Indian tradition and jazz idioms (Tirtha with Nitin Mitta and Prasanna). The two-night residency is not a new concept in the Walker's jazz programming, with a weekend devoted to the many ensembles of Dave King in 2010. But the breadth of musical concepts covered by Iyer in six sets truly left the listener breathless. Happily.
For me, most happily was the experience of Vijay's two solo sets. Watching, as well as listening, to two sets of solo Vijay and one wishes there was a stop-action/slow-speed video of the pianist's hands. Are those hands and fingers extensions of the keys or vice versa? I had a direct view of the keyboard from the fourth row and it was one of my most visually as well as aurally engaging jazz experiences. Iyer creates space in a flurry of notes, sound in the near absence of physical contact, summoning melody or cacophony with a wave of his hand like a magician. With his fingers he grabs, pulls, pushes, twists, slides, massages, jabs, hammers, plucks, abd strokes the keys like a veteran percussionist melding with the drumkit. Yes, the piano is a percussion instrument, an orchestra, a magical circus, and Vijay is the drummer, conductor, and lion tamer.
The first night set mostly featured his original compositions, while the second night set was entirely standards," giving the audience the full resume of Iyer the musical architect, one who builds towers from the ground up as well as one who redesigns from inside out. His opening of Solo I suggested every Monk composition tossed into one stew pot, falling under the rubric of Monk's Work." He followed with his own Spellbound and Sacrosanct, Cowrie Shells and the Shimmering Sea," more accessible than its title and at moments recalling Round Midnight" (although perhaps Round the Clock" would be more apt). He ended with Autoscopy" from his much-lauded 2009 Solo, which seemed to meld the best of Cecil Taylor and Craig Taborn.
Solo II opened with a percussive and playful Somewhere," the rhythm itself hinting at a rumble. Vijay punched out Epistrophy" as an intimate if assertive blues, while a luxurious Darn That Dream" carried a faint homage to stride with distinct traces of These Foolish Things" throughout. I'm not sure why we don't hear Ellington's Black and Tan Fantasy" more often, particularly in solo, but perhaps it is just too difficult for mortals. Vijay can swing hard! His Giant Steps" was wildly inventive, while his closing Imagine" gave the Lennon and McCartney hit a deep buzz, Iyer alone recreating the feel of a Bad Plus cover.
Introducing the second night's program, Philip Bither referred to jazz, at least in Vijay Iyer's world, as the sound of reaching." Iyer is an artist who is perpetually reaching for the next idea, the next collaboration, the next sound. He always delivers surprise, and we are never bored.