Described as a fully-collaborative quartet, Sun & Rain consists of Nathaniel Morgan on alto saxophone, Travis Laplante on tenor saxophone, Andrew Smiley on electric guitar, and Jason Nazary on drums. Co-composed by the four members when they were all together in the rehearsal space, their first album was built across a span of six years. An expansive work comprised of five sections, the music thrives on a collective precision that is in key intervals astoundingly intense. Waterfall is out now on vinyl in an edition of 500 copies through Out of Your Head Records.
The members of Sun & Rain have played in numerous ensembles but the most pertinent to Waterfall is Little Women, a four piece led by Laplante that featured Darius Jones on alto sax, Nazary on drums, and Smiley on guitar (replacing Ben Greenberg). Little Women recorded three albums between 2007 and 2013; the second and third, Throat and Lung, were released by Aum Fidelity with Smiley in the lineup.
The relationship between Little Women and Sun & Rain isn’t difficult to discern, but listening to Waterfall, it’s just as clear why Laplante chose to differentiate this fresh incarnation with Morgan stepping into the alto sax position. The rise in compositional rigor is palpable throughout the continuous piece (the sections are titled “Waterfall I” through “Waterfall V”), with jazz a vital component in the foundation. However, the overall structure is just as rooted in art-rock that radiates an appealing European vibe.
One could also cite Sun & Rain as having a non-noodlesome prog inclination, or just say they’ve honed an especially cerebral strain of experimental jazz-rock. The sound of Waterfall is likely to give a good goosing to fans of Soft Machine and ears attuned to the band that shape up the Rock In Opposition scene, while lovers of burly free jazz throwdowns won’t be disappointed, as the intertwined lung power of Morgan and Laplante is substantial.
Improvisation certainly does figure into the equation, particularly when the band is really pushing outward in sections III and V, but it’s also probable these beautiful ensemble melees are rooted in improv heights attained in the Waterfall’s extensive practice sessions. These meetings took place at Laplante’s home in Vermont, but Sun & Rain doesn’t seem to have a specific home base.
There are a few spots reminiscent of contemporary work from Chicago-based groups, but overall, Sun & Rain sound like they could’ve evolved from just about anywhere (that Euro feel, again), a non-specificity that only strengthens the record’s impact. And the impact is considerable. Plus, the time spent in composing and establishing the piece’s tones and textures reinforces Waterfall isn’t the byproduct of savant-like gifts but rather good judgement and skills honed from perseverance. It’s a record that hits hard and never sets a foot wrong.
GRADED ON A CURVE:
A
