Lori Sims, Andrew Rathbun, and Jeremy Siskind: Impressions of Debussy
Centaur Records

The merging of jazz and classical typically has been attempted—not always satisfactorily—by infusing jazz execution with a Debussy-like refinement; the fusion sometimes has emerged more organically, as heard in Duke Ellington's and Bill Evans's playing, for instance. Rather than melding the two, Impressions of Debussy juxtaposes performances of Préludes by American classical pianist Lori Sims and the jazz duo of pianist Jeremy Siskind and soprano saxophonist Andrew Rathbun.

The project originated in 2016 at the Gilmore International Keyboard Festival in Michigan when Sims presented the work's two volumes in separate shows, with Siskind and Rathbun performing their own concert between her two. The recorded version distills that larger presentation into a compact version that sees nine of the twenty-four preludes interpreted by each party, the result a still-hefty seventy-eight minutes (in every pairing, the duo's version is longer than the pianist's). It's worth noting that Debussy appended titles at the end of the preludes' scores, the gesture reflecting his wish that the titles would be descriptive but not prescriptive. Consequently, while a title might suggest a general direction, room for interpretation is nevertheless retained.

While Sims hews closely to the originals, her interpretations aren't without individuating character. The award-winning pianist enlivens the material with poise and personality. Virtuosity is displayed, but so too are lyricism and a deep understanding of the material; her handling of tempo and dynamics is also exquisite. Siskind, likewise the recipient of multiple awards, and Toronto native Rathbun have arguably the more challenging task in creating improv-inflected variations without straying so far that the preludes' originating essence gets lost. They don't play it safe, either, as shown by their irreverent detour into Monk territory during “Minstrels,” and neither do they simply use a particular theme as a springboard for improvisation; instead, their takes are methodically considered and assume the character of full-fledged re-imaginings.

Sims's assured command of pacing and phrasing is evident the moment “Les sons et les parfums tournent dans l'air du soir” appears, its haunting theme rendered with delicacy and nuance. That melody assumes a rather serpentine character when the baton's tossed to the duo, the result amplifying at this initial stage the differences that can emerge when the same piece is interpreted by different artists. An elaborate duo performance in the truest sense, Rathbun takes the spotlight first, after which Siskind steps forth before the saxophonist returns for an even more expressive solo. Distinctions between soloist and accompanist gradually dissolve, however, as their voices intertwine all the more intricately.

Whereas the beauty of Rathbun's tone and sensitivity of Siskind's playing are both captured in their heartfelt ballad treatment of “La fille aux cheveux de lin,” a playful side comes to the fore in their cheeky incorporation of “I Mean You” into “Minstrels,” the pianist even boldly working Monk's own predilection for stride into the performance. Elsewhere, Sims's restrained, moody take on “Des pas sur la neige” is pensive in the extreme, an approach replicated by the duo in their languorous treatment. While a tango rhythm underpins Siskind's unaccompanied version of “La puerta del vino,” a hint of bossa nova seeps into the duo rendition of “Danseuses de delphes.” The dense harmonic terrain mapped by “Le vent dans la plaine,” perhaps the album's most quintessential Debussy setting (“Canope” a close second), is expertly rendered by Sims and Siskind in their respective versions, the robust contributions of Rathbun the major differentiating factor.

June 2020