Denman Maroney – ‘Martingale’

Denman Maroney returns with ‘Martingale,’ an album that continues his exploration of complex rhythmic structures and inventive piano techniques. Released over two decades after his 2003 record “Fluxations,” this new project introduces fresh collaborators while preserving Maroney's distinctive approach to composition and improvisation.

The album opens with its title track, setting the tone with interlocking patterns that oscillate between closely related pitches. While the instrumentation differs from Maroney’s earlier work, the commitment to repetitive, evolving motifs remains a defining feature. This technique creates a textured soundscape where bass, piano, and saxophone engage in a subtle interplay, underpinned by Bob Meyer’s nuanced drumming, which adds a loose yet vibrant pulse.

‘Curl,’ the album’s second piece, showcases Maroney’s fascination with shifting tempo and time signatures. The track’s irregular rhythms recall the complexity of Conlon Nancarrow’s compositions, blending uneven meters before settling into a steady groove. This blend of rhythmic complexity and melodic clarity invites listeners to immerse themselves in the music’s unfolding patterns without feeling overwhelmed by their intricacy.

Throughout ‘Martingale,’ Maroney balances rigor with playfulness. His fondness for straightforward harmonic progressions provides a grounding simplicity that complements the rhythmic experimentation. The album’s humor and warmth emerge through subtle musical callbacks and distinctive sound effects, including Maroney’s signature “hyper piano” technique, which involves manipulating the piano’s interior strings to produce unconventional timbres.

One standout example is the track ‘Time’s Out,’ where this technique introduces a fresh sonic layer that contrasts with the rhythmic density. The method not only alters the instrument’s sound but also reflects Maroney’s interest in differentiating musical voices through both timbre and contrapuntal relationships.

The album’s reinterpretation of “Off Centrepiece,” a blues standard known for its association with Joni Mitchell, exemplifies Maroney’s experimental approach. The piece disassembles the familiar melody into distinct rhythmic fragments that move independently yet occasionally converge, creating a complex, almost mechanical effect reminiscent of kinetic sculptures in motion.

Bass player Ratzo Harris brings a buoyant energy to the ensemble, his playing characterized by a lively warmth that anchors the album’s more abstract moments. His previous work with pianist Kenny Werner’s trio is well regarded, and here his six-string bass adds depth and character, complementing both the rhythmic framework and melodic lines.

Drummer Bob Meyer maintains a relaxed groove throughout the album, demonstrating an ability to navigate the challenging rhythmic terrain without losing fluidity. Steven Frieder’s contributions on saxophone and clarinet provide a clean, expressive voice that bridges composed material and improvisation seamlessly, enhancing the album’s dynamic range and emotional resonance.

‘Martingale’ oscillates between meticulously composed sections and freer improvisational passages, reflecting Maroney’s skill in blending structure with spontaneity. This balance ensures the music neither feels overly rigid nor aimlessly free, offering a compelling listening experience that rewards close attention.

While the album’s complexity might appear daunting at first, its accessible melodic elements and underlying humor make it engaging rather than forbidding. Maroney’s unique fusion of minimal harmonic content, intricate rhythm, and textural innovation solidifies his position as an inventive figure in contemporary jazz. Details about the recording location and exact release date remain limited, but the work stands as a testament to Maroney’s evolving artistic vision.