Jazz flute is very much an introspective thing. Trumpet players and saxists can, by the power of their horns, capture their audience. With fluters (flautists) the stakes are higher. There's no room for coasting. The instrument is, arguably, the ultimate merging of player and instrument. No reed, mouthpiece problems, the instrument is you - the player.
Back in the day, the only really good jazz flute player in the north-east was the late Charlie Carmichael who, as the renowned local jazz critic - the late Brian Fisher - once said, was also the only clarinet player in the region who could play bop clarinet.
However, that was then and I think if Charlie had been alive today he'd have fallen in love with Elsa's playing - in fact I'm on the brink of doing that myself!
This is one of those albums that take you by surprise. In different timescales, Mozart could have been writing flute concertos for her. Likewise Gil Evans, Kenny Wheeler or George Russell.
Today though, this is jazz fluting at its best - move over Charlie Carmichael and Herbie Mann!
Her musical sisters (am I politically correct in saying that?) are of equal standard and, with the exception of bassist Dayhuff, composed all seven pieces.
Esthesis Quartet's a rather special unit. The description of their spontaneity and sonic explorations may sound pretentious but, at the end of the day, probably sums it up. Myself, I'd just say: wonderful! Lance
Available March 10 on Ears and Eyes Records. More.
Blue Light; Brush Fire;The New Yorker; Hollywood; Serial; First Light; Getting Through.
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