Reviewed by Jeff Cebulski

Christian Dillingham - double bass

Matt Gold - guitar, pedal steel guitar

Julius Tucker - piano

Quin Kirchner - drums

Jodee Lewis - vocals “Boots of Spanish Leather”

Rising Chicago bassist Christian Dillingham has already, two albums in, established himself as an original composer that offers nuanced music rooted in jazz and touched by his classical connections. Halcyon, his new album on Dave Douglas’ Greenleaf label, resembles a cinematic soundtrack for a Western travelogue, though his chief intent is to pay homage to his father, who passed away in September, 2023. And perhaps there is symbolic significance there. The selections are his way of dealing with the aftermath as a journey, hence the nostalgic reference to peaceful and tranquil times.

My “West” comment is based on the central presence of the increasingly popular guitarist Matt Gold, whose tremolo-imbued, Duane Eddyesque playing dominates the material, with Dillingham’s propulsive bass as a current throughout. “Dimepiece,” the opener, which honors Dillingham’s wife as a rock during his emotional struggle, sounds like background for a modern Western—Dillingham’s ponderous bass line suggests an unfolding drama before Gold’s twangy delivery takes over, with Julius Tucker’s concomitant playing providing a cushion before the pianist adds a blues solo that typifies the counterpart for the Western motif that dominates the album’s first half.

The title cut follows, a binate effort with Tucker pronouncing a single-keyed refrain while Dillingham layers himself on top. Gold’s sensitive picking leads to a pronounced blues that communicates a warm feeling pushed by drummer Quin Kirchner’s effervescent skin work, eventually returning to the refrain. The emotional travel piece moves forward on “Sinclair’s Struggle,” where Dillingham’s dramatic bass introduces a C-and-W partner to “Dimepiece,” including steel pedal from Gold and another blues passage from Tucker, adorned by Kirchner’s insistent drumming. And then, Gillian Welch and David Rawlings’ “Lowlands,” which is as ‘cowboy’ as one could get on such an outing, followed by “What’ll I do,” an Irving Berlin ballad turned into a Texas waltz.

Then the album twists into the heart of Dillingham. Tucker, donning his Gene Harris gear, shines on Duke’s “T.G.T.T.”, a softly funky ditty that suggests the moments before tragedy. “Twice Lost” is perhaps the emotional epicenter, a completely different mood exuding the poignancy of personal loss. “Peace Awaits” abstractly communicates the turmoil one suffers before an ultimate resignation.

The recording then relinquishes to the hope of a youngster in “Eleanor Jean,” a light-hearted dance based on a melody hummed by Dillingham’s eldest child. Gold’s playing here seems to be informed by Pat Metheny’s more moving expressions.

The collection ends with another poignant moment, not jazzy but completely in touch with the album’s sentiments, courtesy of local C&W folk singer Jodee Lewis, who sweetly renders Bob Dylan’s “Boots of Spanish Leather.”

Christian Dillingham’s dad was not around—physically, at least—to witness the advent of his son’s recording career, but if he were I think he would be proud. As a remembrance of a beloved father and a representation of the emotional experience of loss, Christian Dillingham’s Halcyon melds his jazz sensibilities with his sophisticated musical pedigree, giving us an album to revisit for a musical accompanist during our own lives’ dramas.from www.chicagojazz.com