Code Re(a)d — recorded in 2011 in Tel Aviv — is a relatively tough proposition as far as penning a significant review is concerned. Having an established business organization (just kidding) such as the Dresser/Hemingway tandem as a part of a trio, it is rather obvious that the third element — in this case, label honcho Assif Tsahar on tenor sax and bass clarinet — becomes an indicator of sorts for the melodic constructions to grow and expand, given that the interplay’s propulsive mechanisms are on high levels of pliability and that, as well as his comrades, the Israeli reedist is a master of his trade.
The record’s extended continuance does not impede our conceptualization of the music as a compendium of ever interesting improvisational flows and considered investigations of the ductile aspects of the “interlocked patterns vs emancipated phrasing” juxtaposition (“Oblique Interpretations” comes to mind). As in every reputable jazz trio, the dynamics at work are determined by each member’s idiosyncratic aesthetic; nothing here made us cry miracle in terms of genuine newness, but the consistency of the extemporaneous structural designs and the insightfulness of the creative minds are unmistakable.
On these grounds, all you have to do is loosen up the legs and enjoy how the single players still transport their personality as they melt egos in agglomerative invention. Dresser does this through his caressing arco in “Expanded Metaphors”, with Tsahar crying all around him in the meantime and Hemingway subtly underlining the coalescence with inexplicit wisdom. Another beautiful illustration of this type of correlative willingness can be found in a track called “(A)pplied Syntax”. In the end, the album provides eight chapters of high-quality materials that will leave no one dissatisfied.