Essence of Now is the sixth album released by bandleader Daniel Walzer of Indianapolis, Indiana. Originally a percussionist, Walzer’s full discography contains more than two dozen albums as a session musician, engineer and producer. He presently works as an Assistant Professor of Music and Arts Technology at Indiana University-Purdue University, Indianapolis.
This album commemorates the 20th anniversary of Essence of Now Records, a midwest label Walzer began in 2001, and showcases his versatility on piano, drums, mallets, percussion and as an audio engineer. Among the supporting players are bassists Adam Nitti and Aaron Jacobs, guitarists Douglas Dunlap, Toby Ellis and Dave Isaacs, drummer Gareth Dylan Smith, sax and keyboard player Jay Reynolds and cellist Aaron Fried. My first impression of this album is that it plays like Walzer’s own personal Monterey Jazz Festival with all the musicianship and variety that implies. The majority of these tracks were recorded during the pandemic and reflect Walzer’s stylistic influences ranging from jazz, progressive rock and contemporary classical to new age and ambient EDM. Different tracks were recorded at Inner Space Audio in Cincinnati; Arts, Letters and Numbers in Averill Park NY; and the majority at The Vision in Indianapolis. Mastering was by Ken Love at Sweetwater Studios. The opening track “Metalaqua” has the perfect title, as the predominant feel is of metal percussive sounds played underwater. Walzer lists his instruments for this album as piano, drums, marimba, vibraphone, percussion, electronic percussion and keyboards, so his steel drum sounds could be almost anything. The main melody plays like a loop and creates a relaxing, hypnotic musical environment. Toby Ellis guests on pedal steel. “Unity” feels more like spacey jazz fusion and features Doug Dunlap on mysterious, reverb-drenched guitar from the Steve Hackett school. “Stand Up” has a more kinetic Weather Report vibe, especially with the triple-time bass from Adam Nitti atop Walzer’s jumpy drums. “The Test” has a distinctly Indian flavor, though without any true Indian instruments. Aaron Fried takes a dark and mysterious turn on cello. The concluding piano and marimba section has a Frank Zappa quality in his jazz mode. The following “Thin Lips” also recall’s Frank’s Roxy period with its heavy use of mallets and vaguely robotic melodies. “Marauder” slows the tempo for an expansive three-minute solo piano overture, after which Walzer is joined by Aaron Jacobs on bass and Jay Reynolds on sax and keyboards for a smoky Return To Forever-type romp. “Redemption” is apparently a full Walzer solo track, and makes full use of a synthesized “string” patch along with something that sounds like an accordion. The combination of smooth synths and spiky percussion makes for a compelling, immersive sound. Quite similar is “Nebraska” where Walzer’s keyboards and Ruth Underwood-like marimba are joined by Dave Isaacs on guitar. Tracks like these would be catnip for the prog audience. “Coming Home” is the eight-minute concluding epic, this time featuring Walzer on solo piano with no other instruments or players. It makes for a striking, quasi-classical contrast. Fans of jazzy, proggy, upbeat music with a percussive edge will find much to enjoy here!
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