Rez Abbasi - guitar/composition
Vijay Iyer - piano
Rudresh Mahanthappa - alto saxophone
Johannes Weidenmueller - double bass
Dan Weiss - drums
Guest - Elizabeth Mikhael - cello
Recorded at Systems Two, Brooklyn by Michael Marciano (Feb. 2 & 3, 2016)
Mixed by Michael Marciano and Rez Abbasi
Mastered by Michael Fossenkemper at Turtletone Studio, NY
Produced by Rez Abbasi
Executive Producer - Michael Janisch
Photo Credit - Ellen Wallop (via Asia Society)
Cover Photo - John Rogers
Cover Sculpture - Noah Baumwoll
Rez plays D’Addario strings
released October 6, 2017
ABOUT THE ALBUM
Completing a trilogy of albums whose compositions are infused with the various, colorful strands of traditional music from his Pakistani/Indian homeland, New York guitarist Rez Abbasi’s Unfiltered Universe presents the line-up of pianist Vijay Iyer, alto saxophonist Rudresh Mahanthappa, bassist Johannes Weidenmueller and drummer Dan Weiss, plus guest appearances from renowned classical cellist Elizabeth Mikhael. Previous releases Things to Come and Suno Suno focused, respectively, on Hindustani and Qawwali music, whereas this collection of seven new numbers explores and embraces the more rhythmically exuberant, South Asian elements of Carnatic instrumental music.
Originally hailing from Karachi – and creating fresh, contemporary sounds here with players who themselves are all well-versed in north and south Indian music – Abbasi sees his subconscious responses as an equally important source of inspiration alongside the imprint of his treasured, cultural heritage. “I have an intuitive way of approaching composition – an idea of searching but not searching, being conscious but not conscious. So with all of the influences I’ve absorbed (including Indian music, Charlie Parker, John Coltrane, Jim Hall, Keith Jarrett, Led Zeppelin), why would I want a tunnel-vision thing happening when I can have this ‘unfiltered universe’? I’ve had the good fortune to play alongside some great Carnatic musicians – a lot of jazz players don’t get to do that. But instead of interjecting specific Carnatic ideas, I use their energy as a foundation.
“Earlier albums featured the distinctive sounds of, for example, tabla and sitar – but on this recording, there’s no Indian instrument at all, so it’s an experiment in camouflaging that exoticism. There’s certainly a rhythmic and improvisational empathy between Indian music and jazz; but here, what you’re hearing is what you’re not used to hearing” – something which Abbasi defines more acutely as ‘creative music with a jazz weighting’ rather than the quite different concepts of ‘Indian jazz’ or ‘Indojazz’.
Abbasi’s complex meters are often based on underlying, architectural structures of expansion and compression which, in propulsive, shifting ‘Thin-king’, give rise to its beautifully searching melody; and enigmatic, tumbling ‘Turn of Events’ finds an exciting, flowing synergy between cello, guitar and sax. Carefully-crafted ‘Propensity’ features a bassline which moves by an eighth note, almost undetected, through multi-time-signatured sections: “There are five-and-a-half beats there, six beats here, like the idea of someone breathing or walking irregularly”. Rock-grooving ‘Disagree to Agree’ is an angular, stoic reflection on prevalent political turmoil; and the contrasting joyousness of ‘Dance Number’ has its roots in Abbasi’s and Mahanthappa’s intense sessions working with a Carnatic dance company, the guitarist’s writing echoing the vitality of their steps and rhythms.
Rez Abbasi concludes: “With Unfiltered Universe, I’d like to trigger an emotional response which, perhaps, could change something subconsciously. If my music can impact listeners on that level, I feel I’ve succeeded. But my essential musical message is that jazz can also be this – it can be creative without being totally improvised and moving without being stylized. I hope listeners will live this record”.
“The South Asian elements of Unfiltered Universe are woven into the music’s underlying rhythms, melodic structures and phraseology... Highlights include the angular opener ‘Propensity’; the sometimes pensive, sometimes wild title track; and the cerebral-meets-whimsical ‘Thin-King’.
DownBeat Magazine (Editors Pick)
"Vigorous, gripping, modern jazz that maximises the strengths of each ensemble member... Strapping guitar tone and lissome improvisations... Endless wonder and suspense."
★★★★ Jazzwise Magazine
"An action packed gala... Tightly coordinated unison choruses and accenting cadences, Abassi's dark-toned electric guitar phrasings and Mahanthappa's bristling sax notes signify a potent force-field atop the pulsating rhythm section."
★★★★ All About Jazz
"An imaginative composer and guitarist of considerable virtuosity, plus an ensemble of immense talent, are all factors that make this high calibre album, imbued with unfettered vigour and intrigue, a most satisfying affair."
★★★★1/2 All About Jazz
"Expressive and imaginative improvisation... an admirable display of skill worthy of widespread attention."
Jazz and Blues Blog Spot
"A compelling experience."
Bebop Spoken Here
"Complex, evocative and enigmatic."
★★★★1/2 Kathodik (IT)
"Iyer's playing is powerful and imaginative throughout the record; Mahanthappa and Abbasi are dazzling."
Sandy Brown Jazz
“Intense, powerful music with a distinctive personality.”
“True fusion, taking in all aspects of Abbasi’s personality.”
“Strong music carried by an excellent rhythm section.”
Culture Jazz (FR)
“Fusing Indian music and jazz with hints of classical.”
Le Souffle Bleu (FR)
“Complex, hard-driving modern jazz that frequently tips over into chopstastic fusion.”
“The sound is certainly unique; it’s pensive jazz, in no hurry to develop despite the often skittery grooves... Often dissonant, too, on terms both harmonic and rhythmic.”
“He’s [Abbasi] breathed in much through his deep research into Carnatic music tradition, and breathes it out again informed by his progressive jazz DNA.”
Something Else Reviews
“The polyrhythmic ideas bear witness to intensive study of West African and South Asian music.”
"The blend of alto sax, acoustic piano, and guitar with this highly active rhythm section makes for a winning combination."
“A searching, melodic exploration of the rhythmic and improvisational empathy between Indian music and jazz.”
“Creative, melodious, intense and eclectic.”
“Rousingly powerful, rich in detail and striking... A fusion of South Indian, rock and improvised jazz music.”
“Emphatically powerful and intense.”
"Abbasi brings an open-border fluidity to his music without forsaking any aspect of his roots."
“An astounding richness of rhythms and timbres.”
Image HI Fi (CH)
“Complex structures of compositions and arrangements, a never-ending atmosphere of spontaneous development,surprises and sudden twists... This is modern jazz rock or fusion at its finest!”
Musik an Sich
“An adventure, a mysterious journey through the world of music, marked by a variety of impressions and influences.”
“Abbasi demonstrates that his music continues to thrill and seek out the new... He’s found it here.”
“This skilled ensemble of avant-garde Indo European musicians breathe life into Abbasi’s daring compositions.”
“The most interesting thing about this music the rapid changes that the band makes collectively within the pieces.”
“A stimulating of unpredictable modern jazz, one of Rez Abbasi’s finest recordings to date.”
Jazz Artistry Now
"This ensemble skilfully breathes life into Abbasi's bold Indo-Jazz, avant-garde compositions."
"A mixture of world, jazz and rock influences... This album has to be heard."
"The disc merges world music with contemporary free-form music and
virtuosity with harmonic simplicity... An exotic and exciting fusion."
"For all the album’s twists and turns, the core lies in high-energy solos flying over bassist Johannes Weidenmueller and drummer Dan Weiss’s knowing and precisely fused beats."
"Brisk, rocking and then almost chamber music in turns... Brilliant."
★★★★ Jazz 'n' More
"[Unfiltered Universe] adds touches of orchestral music into an already mesmerizing mix of jazz and impressions of Carnatic music to yield something entirely new."
Omaha Radio: Last Call Review