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Patricia Brennan
Of The Near And Far
Pyroclastic PR 43
After an award-winning and career-defining year, vibraphonist Patricia Brennan offers Of The Near And Far, an album inspired by her love of astronomy. Following the critically acclaimed Pyroclastic releases Breaking Stretch (2024) and More Touch (2022), Brennan once again expands her ensemble to include pianist Sylvie Courvoisier, guitarist Miles Okazaki, bassist Kim Cass, drummer John Hollenbeck, and Arktureye on electronics, as well as string players Modney and Pala Garcia (violins), Kyle Armbrust (viola), and Michael Nicolas (cello), all conducted by Eli Greenhoe. For this urbane effort, Brennan devised a system to overlay pitch sets collected from constellations over a circle of fifths, transposing the celestial map into symmetrically harmonious patterns. Further enriched by the myths surrounding these constellations, this captivating program explores previously uncharted territory.
The album opens with “Antlia,” a dense, hypnotic piece where vibraphone, piano, strings, and electronics interlock into intricate, overlapping rhythmic structures. Brennan and Okazaki trade vibrant solos that shift seamlessly between ascending and descending motifs, setting the tone for a program that is both meticulously composed and freely expressive. “Aquarius” and “Lyra” expand this otherworldly palette, combining bowed and plucked strings, shimmering electronics, and cascading piano lines that evoke the weightlessness of space. Brennan elicits lush melodic phrases with sonorous sustain, while the ensemble maintains a delicate balance between form and freedom.
“Citlalli” is an excursion into electro-acoustic abstraction, with bright tonal colors, extended string techniques, and warped electronics that add a psychedelic dimension. Written in a fugue-like form to approximate the soaring flight of the titular eagle, “Aquila” retains an open-ended chamber music-like sensibility. In contrast, “Andromeda” channels pure energy, deftly demonstrating Brennan’s use of large ensemble forces by combining technical complexity with visceral impact as the leader’s frantic motifs are accentuated by turbulent strings and Okazaki’s electrifying, distortion-laden fretwork. Other tracks explore subtler textures. The closing “When You Stare Into the Abyss” balances ambient soundscapes with sophisticated string arrangements that transform from spectral to opulent.
Patricia Brennan and ensemble © 2025 David Breskin
A keen arranger, Brennan harnesses the full capabilities of a large ensemble while acknowledging individual contributions. Throughout the set, Hollenbeck’s precise drumming and Cass’ pneumatic bass provide rhythmic clarity, allowing Brennan’s adventurous improvisations to soar without dominating the ensemble. The electronics of Arktureye accentuate the soundscape without overpowering the acoustic instruments, adding layers of texture while complementing Brennan’s own use of bold electronic effects. The interplay between Brennan and Okazaki is especially compelling, their visceral interchanges interweaving throughout the date with virtually telepathic chemistry.
Of The Near And Far is a testament to Brennan’s compositional acumen, burgeoning arranging skills, and the panoramic scope of her imagination. These lyrical compositions highlight Brennan’s ability to balance virtuosic density with atmospheric spaciousness. Tracks shift organically between hypnotic grooves, dramatic climaxes, and introspective reflection, maintaining interest whether exploring mesmerizing minimalism, cosmic reverie, or electronic abstraction. Looking to the stars for inspiration, this enigmatically alluring effort conjures celestial soundscapes both expansive and intimate, confirming Brennan as one of creative improvised music’s most visionary artists.
–Troy Collins
