JASON KAO HWANG, EDGE, ASIAN IMPROV

Cadence Magazine, November 2006
By Jay Collins

Violinist Jason Kao Hwang is surely one of the most interesting players and certainly, as evidenced by this record, Edge, one that plans on making compelling music for a long time on a neglected instrument. Perhaps the reason to pick up this up, though, other than its strong statements from Hwang, as player and composer, is his ability to attract such an excellent quartet that beautifully interprets Hwang's emotionally charged stratagems. And what a group it is! Taylor Ho Bynum brings his cornet and flugelhorn, Ken Filiano adds his splendid arco and fingers-busting pizzicato bass work and the massively unheralded drummer Andrew Drury continually proves his personal touch with each stroke.

While it is true that the title of the record is fitting, the edge employed is most often that kind that inspires the subtlety of these passionate players on pieces tinged with an Asian influence that adds to the dramatic flair of the four movements. Hwang's long bow slithers on the opening "No Myth" that works itself into a nice groove thanks to Drury and Filiano's setting the pace, though the highlights are surely Bynum's cornet bristles and Drury's vast percussive shadings. "Threads" commences with Asian hues via Hwang's plucked notes, eventually working into a propulsive march cadence with its apex being Bynum's otherworldly sounds that inspire Hwang's stratospheric ventures.

The group at its best in terms of its range on "Parallel Meditations," initially a subdued reverie that works into a buoyant ride with some boppish timekeeping from rhythmatists Drury and Filiano, capped by a joyously eruptive solo from Hwang. As for the close to this magnificent set, "Grassy Hills," a meditative piece, proves as solemn as it is mysterious, though as with other pieces, the quartet locks into their spirited zone, concluding with all emotional edges thrown out to see.

While Hwang has proven to be an asset to many ensembles, he steps out with authority on Edge for a hair over forty minutes of riveting pieces that allow both him and his ensemble to explore their own voices within the context of Hwang's inspiration.