Ethan Philion: Gnosis
Sunnyside Records

Without wishing to put an inordinate amount of pressure on Ethan Philion, moments arise on Gnosis where it's tempting to regard him as Charles Mingus's heir apparent. Consider: the Chicago-based bassist brings the same kind of formidable and robust attack to his performances as did the late legend, and Philion makes no bones about Mingus's influence. The new album includes a treatment of his “What Love” (itself a personalized riff on Cole Porter's “What Is This Thing Called Love”), and Philion gave his noteworthy debut the title Meditations on Mingus. Generally speaking, Philion drives his ensembles, be it the debut's ten-member unit or the sleek quartet on Gnosis, with an authority that matches his predecessor. Even when his partners wail vociferously on the new release, there's no question who's in charge.

With all that said, it would be wrong to brand him a Mingus clone. Like any jazz bassist, he's been influenced by the man but, while readily acknowledging it, is also someone committed to forging his own path. That's intimated by the focus on the original material Philion, alto saxophonist Greg Ward, trumpeter Russ Johnson, and drummer Dana Hall breathe into being on Gnosis. It doesn't hurt that the four are well-acquainted, the latter two part of the tenet on the Mingus set and Ward someone with whom Philion's played in multiple contexts.

Recorded on October 10th, 2021 at Chicago's Palisade Studios, the release finds the four in stellar form. Complementing the leader, Ward invests his playing with the incendiary fire he brings to his Rogue Parade performances, Johnson rises to an equally high level, and Hall's a whirlwind of invention. No fool he, Philion designed the tunes to allow ample space for individual expression and make full use of his partners' talents. Look no further than the furious opening track for proof. “The Boot” might have been titled after a walking boot the bassist had to wear for an ankle injury a while ago, but there's nothing handicapped about the performance. All four roar from the drop, their energy contained slightly when the theme's voiced but otherwise volcanic. Close listening and responsiveness are always evident, with the bassist and drummer stoking fire under the front-liners and prodding them aggressively. While the playing might seemingly flirt with abandon, these are players so in command of their instruments things never go off the rails.

There's no replacing Mingus's 1960 recording featuring Eric Dolphy, Ted Curson, and Dannie Richmond, but Philion's adventurous take on “What Love” has much to recommend it. After introducing it with a sultry swing, the quartet ventures far afield into freer territory that includes quick changes in tempo and tone executed fluidly. The leader's bluesy solo exploration testifies to his prowess, but as much pleasure's derived from witnessing how expertly Hall shadows the bassist's rapid change-ups. Consider also how fabulously the two support Johnson's wide-ranging extemporizations in “Sheep Shank.” After Philion introduces the calmer “Nostalgia” with “pinch harmonics,” an arresting technique that allows multiple harmonics to be played at once by fingering and plucking separate notes with the same hand, the tune, crowned by a gorgeous theme, settles into a mood that's equally wistful and forlorn. It's hardly static, however, as shown by the swell in energy that occurs when Ward takes flight. Meanwhile, one could be forgiven for imagining Don Cherry and Ornette Coleman entered the studio when “Comment Section” begins with bluster and the kind of wailing figure the Texan saxophonist specialized in.

A term familiar to students of Ancient Greek philosophy, Gnosis refers, in Philion's words, “to intangible knowledge, the things we learn from the qualities of an experience rather than explicit teaching.” In fashioning this stellar release, the bassist has clearly drawn on his background as a student at Oberlin Conservatory and DePaul University and from the wealth of experiences he's had working and playing with figures such as Rufus Reid, Mark Feldman, Jason Moran, Gary Bartz, Geof Bradfield, and others. The performances Philion and company deliver on his sophomore effort are urgent, compelling, and at times awesome.

December 2023