The band’s self-titled album exudes a very tasteful stream of thoughtfully arranged jazzy instrumentals. Debuts rarely come together like this.
Release Date: June 26, 2019 | International Anthem | Bandcamp
Resavoir is a collective of instrumentalists originating from Chicago, Illinois. The band, at its core, is made up of: Will Miller on trumpet/synths, Irvin Pierce on saxophone, Akenya Seymour on keys/vocals, Lane Beckstrom on bass, Peter Manheim on drums and Jeremy Cunningham on drums. The group is fronted by the composing, producing and arranging work of Will Miller. A trumpeter at the origin, who is probably better known as a member of the band Whitney, or for his brass cameos on tracks by Mac Miller, Eryn Allen Kane, Twin Peaks, and Xavier Omar.
Resavoir is jam-packed with a wide array of instruments and influences that gently melt together in something of a unique package. This record is more than rewarding to the patient and attentive listener since it’s rife with textural subtleties and intricacies. Clocking in at just thirty minutes it could be said that it is a short journey. However, no moment misses the mark compositionally or emotionally. This is what I like to call a no-ounce-of-fat album, as in, the entire writing aspect is carefully curated to the point of nigh-perfection.
Across the nine tracks of the album, we are greeted with a smorgasbord of stylistic designs that make the whole affair come across as engaging, fresh, manifold, yet, oddly organic. Personally, it could’ve worked as a one-track album as well, since the flow is so cursive and the transitions virtually seamless. Each of the tracks has some distinct flavor to it upon closer inspection, even though there is a common denominator that surfaces as a very soulful exposition of modern jazz.
The title track is easily the highlight of the album, featuring a hypnotic suite of grooves, some of the sweetest rolling bass lines out there, underlying lo-fi accents, and some very tasteful usage of the saxophone. Whereas the follow-up, “Taking Flight”, continues on the rolling bass bedrock, propelling the action in a slightly more upbeat and energetic direction. Also, speaking of hypnotic grooves, “Clouds” makes great use of them in the form of a breezy interlude, gliding effortlessly into the glitchy percussive intro of “Woah”. The penchant for ebbing grooves is only matched by the exquisite exploration of textural details. This is wonderfully showcased in the “Intro” track and even more so in “Illusion” and the ending track, “LML”, lending something of a brisk psychedelic overtone to the mix.
I would be remiss if I wouldn’t expand even just a little on the emotional cues of this album. As it would naturally stem from its description so far, words couldn’t and wouldn’t properly encompass the expansive yet serene breath of fresh air that jolts out of this collection of songs. There’s also a subtle sense of class and refinement that oozes around all the edges of every moment in a way that transcends any gentlemanly grace. But nothing comes close to the soothing nudge that keeps one’s focus honed and relaxed across the entire aural trip, akin to having one’s physical contour evaporate and experiencing something of a oneness.
Resavoir is frothing at the seams with immense potential and a sterling level of musicianship. Resavoir is the scintillating testament to that claim. The world of music has become richer with the addition of all this to its patrimony. Fans of Thundercat, Flying Lotus, BADBADNOTGOOD and Kamasi Washington (and not only) can definitely have a jab at this magnificent album because it’s easily up there with these guys. What else could I say other than that I’m really looking forward to what Resavoir will bring forth next.