Notes pour from a bowed violin, plucked double bass, picked mandolin and slapped drums, unstitching all our definitions of what jazz should be. Before our ears even know what hit us, these notes are promptly sown together again in a patchwork of Indian rags, Irish jigs, bluegrass and a good dose of funk.
Taarka’s musicians are poets, but the only spoken words come from the rhythm and melody of their instruments. The quartet in question — David Tiller, Enion Pelta, Jarrod Kaplan and new bassist Jason Flores — is unquestionably talented, with “Even Odd Bird,” the band’s oft-delayed second release, serving as ample proof.
Because Taarka is an instrumental band, it should be said that any interpretation of the music translated into words is highly subjective, even more so than songs with lyrics. For this reason, there are no standout hits on “Even Odd Bird,” merely the tunes you can dance to, trance to, write to, draw to and paint to. Here is an album that resembles a large iridescent mood ring.
“Dance for Impeachment” begins with violinist Pelta playing a melody reminiscent of a cat sneaking across a floor before the entire group’s sound explodes. This is perhaps the album’s most narrative tune, evoking imagery of violence and political strife before returning to lithe motif.
Now that the group has compiled a large breadth of material, “Even Odd Bird,” freely appropriates work from the musicians’ past. Pelta’s “March Waltz,” from last year’s duet collaboration with Tiller, is re-recorded and benefits from the extra punch that bass and percussion provide. Tiller’s “Obleo’s Travels” — from the same recording — gets the similar treatment. Kaplan’s “Kudzu” was first recorded by his previous group, Trillian Green.
Other tunes represent the band’s composition becoming more unified and less centered around Tiller and Pelta. “Semii Aztlan” — credited to bassist Flores, owes its roots to the modes of East while Kaplan’s “Augra’s Machine,” a reference to the 1982 film Dark Crystal — is particularly energetic, with the band going from a slow melody that evokes images of verdant country fields before eventually quickening its pace. Finally, the instruments reach an all-out psychedelic climax.
Taarka’s first release, 2002’s “Live in the Studio” was a straightforward no-frills album, recorded before the band had even gained a mastery of the material. This differs markedly from the overall sound of “Even Odd Bird,” which has a warm production quality that is ironically closer to a Taarka live performance.
Still, the band makes use of studio techniques effectively. Pelta’s violin harmonizes with itself on “Impeachment” while other instrumentalists, such as an accordion and keyboard on “Fat Chance,” are occasionally added to vamp out a tune.