Album Review: Fourthought by Fourthought

Nambulo Music

After hours music is Fourthought’s specialty. The jazz quartet’s self-titled album from Nambulo Music is loaded with billowing saxophone wails from Nicholas Biello and quick-wristed improvisations by pianist Kerong Chok as bassist Cameron Kayne and drummer Manuel Weyand sustain a steady rhythmic patter. Each one contributes their all from the swinging cuts of “Laurceny” to the silken silhouettes of “Intercession.”

Their commentaries are thought-evoking resounding with capricious twists and pliable bends that change the tracks trajectory channeling the mind’s psychosis and stimulating the listener’s cerebral sensory. The fiery saxophone furls punctuating “Rumi-Native” propel the track into hard bop terrain, and the cool jazz swagger of “Arrival” makes room for the Biello’s saxophone and Chok’s keys which bow and retract in a whimsical manner. The sensual strut of the saxophone along “A Change of Heart” produces torchlight atmospherics contrasting the angular cuts of “Amethyst” stirred by an inner psychosis transcribed by the piano keys.

Fourthought’s self-titled album is a product of the quartet’s psyche tapping into a conceptual vernacular and converting the music in their heads into an audible manifestation. Their improvisations are cut and pasted into a flowing schematic that articulates the command they have over their instruments and their ability to integrate their thoughts. It is music to stimulate the mind and that it does.

Manuel Weyand – drums, Nicholas Biello – alto/tenor saxophone, Cameron Kayne – acoustic bass, Kerong Chok – piano and Fender Rhodes

Laurceny, Rumi-Native, Green Dolphin Street, Intercession, Arrival, A Change of Heart, Amethyst (live)

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