Carmel In "Being," Chris Rottmayer explores jazz's rich dialogue, melding the wisdom of the past with the vibrancy of the present. This album, released on March 6, 2024, via Shifting Paradigm Records, showcases Rottmayer's deep engagement with the legacy of Mulgrew Miller and Woody Shaw while also painting vivid soundscapes of Parisian life. The album is a journey through ten original compositions, each demonstrating Rottmayer's gift as a composer, pianist, and jazz educator.

Rottmayer, a seasoned jazz artist and lecturer at the University of Wisconsin-Madison, has garnered attention for his previous albums, "So in Love" and "Sunday at Pilars," reaching notable positions on jazz radio charts. With "Being," he continues to carve his niche, this time accompanied by a stellar quartet: Russ Johnson on trumpet and flügelhorn, Matt Endres on drums, and the legendary Rufus Reid on acoustic bass. This ensemble brings a rich tapestry of sound, blending technical fluidity with emotive storytelling.

The album opens with "On The Street Where Woody Lives," a vibrant homage to the interplay between Shaw's and Miller's musical languages. The piece starts with a jaunty piano and bass figure, immediately setting an upbeat tone. The interplay between the straight-eighth feel of the A sections and the swinging B section is seamless, highlighting the quartet's tight cohesion. Johnson's trumpet solo is particularly attention-grabbing, flowing with a lyrical grace that complements the beauty of Rottmayer's textured piano lines in his solo.

"Re-United" offers a fresh take on Wayne Shorter's "United," reimagined in 4/4 time. The track also offers a subtle three-against-four polyrhythmic feel, with Reid's steady bass pulse anchoring the composition. Rottmayer's solo is a sophisticated blend of bluesy licks and intricate jazz lines, playing cleverly with the rhythmic polyrhythmic tension. The trading between Endres and the rest of the quartet before the head adds a conversational element, making the piece feel like a lively jazz dialogue.

The Parisian-inspired tracks provide a fascinating counterpoint to the Miller-Shaw study. "Pigalle" is a lush ballad that captures the moodiness of the famous Parisian district, with Rottmayer's lyrical piano playing and Johnson's warm flügelhorn tones creating a poignant atmosphere. The ensemble's dynamic interplay shines in "Châtelet," an up-tempo swinger that channels the bustling energy of the Paris Metro. Rottmayer's interaction with Reid and Endres during his solo is particularly striking, showcasing his deep listening skills and responsiveness.

"Ballerina Dance" and "Song of Modes" delve into the more exotic and modal aspects of Shaw and Miller's work. The former piece evokes a sense of mystique through its flowing six-eight feel. The latter track features Reid's expressive arco bass work, adding an ethereal quality to the album. Rottmayer's modern voicings and Johnson's fiery soloing explore the modal landscape, making "Song of Modes" a memorable track.

The album's quieter moments, such as "Autumn Evening" and "La Seizième," provide a space for introspection. The trio format in these pieces allows for a more intimate exploration of melody and harmony. "La Seizième," in particular, is a beautiful showcase of Endres' elegant brushwork and Rottmayer's sensitive touch on the piano, in his soloing and accompanying.

"Being" culminates with "Rue des Lombards," a medium-up tempo swinger that brings the album to a lively close. Johnson's playful solo, paired with Rottmayer's swinging lines, encapsulates the joy and vitality of live jazz performance. The ensemble's chemistry is palpable, making this final track a fitting end to an album that feels timeless and timely.

With "Being," Chris Rottmayer honors the legacy of jazz greats like Mulgrew Miller and Woody Shaw with a thoughtful exploration of jazz's musical language, its rich history, and a personal reflection on the places and people that inspire Rottmayer's artistry. It's an album that invites repeated listening, revealing new layers of depth and nuance each time.