Love in Exile is just not jazz, regardless of that includes pianist Vijay Iyer, a heavy in that world. Neither is it “world music” — no matter which means — though it showcases Urdu vocalist Arooj Aftab, who gained a Grammy in that class final 12 months. As an alternative, listening to Love in Exile, which additionally options Shahzad Ismaily on bass and Moog, is extra akin to visiting some form of lovely, unusual sonic panorama created from strings, keys, and breath.
Because the trio first joined forces a couple of years in the past, Iyer, Aftab, and Ismaily have been all about unfastened experimentation. As an alternative of composing, they play off each other — very like a jazz trio, but in addition in no way. Love in Exile, their first album collectively, was recorded dwell in New York with scant modifying and tracks that go nicely previous the 10-minute mark; it’s a masterclass in area, which means each second isn’t filled with layers of sound and manufacturing. As an alternative, the musicians commerce off and dart round each other like “a college of fish,” as Aftab describes it.
Take opening monitor “To Stay/To Return,” which begins with a fragile, tinkling synth that seems like sped-up wind chimes. Greater than a minute into the monitor, Iyer enters, studding spare piano notes into the material of the monitor. Aftab doesn’t enter till three minutes into the music, however not because the lead vocalist as one may count on. Her voice is simply one other instrument within the sonic tapestry, albeit a significant one. Aftab has stated that she’s not telling a narrative on this document, however as an alternative is utilizing the sound of phrases as an instrument. The impact is heightened by her vocal tone, which is dry and heat all on the similar time. She’s not emoting, and he or she doesn’t have to — her voice is simply that singular and robust.
The remainder of the document unfurls in a lot the identical means. On “Haseen Thi,” Ismaily offers equal weight to burbling basslines and a squeak of the strings, and “Shadow Forces” lets Ayer and Aftab prepared the ground with a hypnotically repetitive piano line that flows into the latter’s syrupy vocals. “Sajni” begins off with a bass so heavy it shakes the chest, solely to be tempered by piano that shimmers like gentle on the floor of a lake. In the long run, all the things crashes into one another on “To Stay/To Return (Excerpt),” all of the devices coming collectively to create a cacophony that welcomes Aftab again to utter the evocative Urdu phrase that started the music.
All three of those musicians have confirmed that they’re singular abilities, that they’ll take heart stage and bend music to their will. On Love in Exile, they’re assured sufficient of their talents to merge and meld into one thing less complicated however no much less spectacular. No definitions required.
