The fifth album by Maltese saxophonist Carlo Muscat entitled Diversity is a homage to the music of Black-American artists and the lasting and profound impacts their contributions to the genre have made. Recorded in Paris in 2020 with a selection of some of the city’s most prominent jazz musicians, the album covers a variety of works by Wayne Shorter, Horace Silver and Joe Henderson, among others.

Saxophonist Carlo Muscat has built an impressive and respected career on the island, both as a performer and as a promoter of live events through his music venue Storeroom in Ta’ Xbiex.

Following a brief flirtation with the violin at the age of eight, a few short years later, Muscat would switch to the tenor saxophone, embarking him on a lifelong journey of personal and creative development that would eventually take him to Paris in 2013 to further his studies in jazz – a city he revisited last year for the recording of Diversity.

He describes his musical journey as “a process that is ceaseless, expressive, and allows for freedom of interpretation”. This latest album encapsulates this perfectly, displaying a strongly individual character while remaining faithful to the spirit and musical language of the original material.

The record’s opening track, Six and Four by Oliver Nelson, demonstrates a playful character that oscillates between different key centres in surprising yet navigable ways, and is an apt choice to open the album.

After the establishment of the piece’s main melodic material, the track gives way to a joyful solo from Muscat that clearly communicates his affection and deep knowledge of the genre, exhibiting flowing swing lines, a strong sense of character and effortless harmonic shifts.

This is followed by a rhythmically inventive double bass solo from Mauro Gargano that communicates strongly with drummer Philippe Maniez’s accompaniment which, in particular, creatively utilises cymbals to both support the bass yet provide ample space for it in the lower end of the mix.

The ensemble next move to After the Rain by jazz legend John Coltrane, a track which makes effective use of the guitar and tenor saxophone playing in unison, though with some individual freedom – an approach which creates an interesting sonic effect akin to phasing.

Jinrikisha, the record’s third track by Joe Henderson features solos from both saxophone and guitar, this first solo offering from Simon Martineau on the album demonstrating the guitarist’s thoughtful approach to improvisation clearly built on years of experience and harmonic exploration.

His timbre fits perfectly in the album’s sound world, providing tonal clarity and a pleasing well-rounded melodic voice. I particularly enjoyed his sparing use of chords at the end of the solo, which help to create a sense of urgency as the melody returns in the tenor.

The fourth track, All Too Soon, a piece by one of the genre’s most recognisable and influential names, Duke Ellington, demonstrates perfectly the thematic creativity and unique voice the composer is known and loved for, and opens with an inventive solo on the guitar which makes strong use of counterpointing melodic and harmonic ideas in different registers of the instrument.

A well-chosen piece for the album and one that sits well in its place as the fifth track, Strollin’ (Horace Silver) features a highly pleasing and idiomatic melody, its singing character brought to life perfectly throughout both the main motif and subsequent solos from Muscat and Martineau. Mahjong by Wayne Shorter follows – an offering which proves to be a highly enjoyable affair.

The voicings chosen by Martineau in combination with excellent supporting rhythmic work in the bass and drums, in addition to Muscat’s rich, treacle-like tone throughout the repeated descending melody bring the piece’s bright-eyed yet relaxed character to life superbly.

The album’s penultimate track Valse Hot (Sonny Rollins) begins with an angular discussion-like interplay between the saxophone, guitar and bass. The piece features a short yet enjoyable bass solo, providing Gargano space to rise out of the mix with flourishing melodic fragments. The piece rapidly slows to a satisfying conclusion, led by the saxophone’s breathy descent into the instrument’s low register.

Closing the album, the exciting This I Dig of You by Hank Mobley presents an upbeat main melody, leading to a similarly fluid and energetic solo in the tenor saxophone. This work also provides a platform for Philippe Maniez to solo, allowing him the freedom to open up in a way only hinted at up until this point in the album. 

What stood out for me is Maniez’s clearly melodic approach to soloing, his highly engaging use of the tom-toms creating defined descending pitch runs punctuated by the snare and cymbals. This piece is a perfect choice to close the album, its ‘straight-ahead’ jazz feel, delivering a satisfying cadence to the record and leaving me eager to hear more from this excellent quartet.

In conclusion, I thoroughly enjoyed this album, the choices of included material and strongly idiomatic approach to the instrumental work creating the impression of a remastered – though, in truth, reimagined – album from a golden age of jazz.

Muscat and his fellow musicians should be applauded for creating a record that while clearly respecting the genre and the contributions of the jazz giants it pays homage to, nonetheless manages to carve out a unique sound of its own.

The choice of pieces on the album represents a wise and imaginative approach to programming, offering listeners an eclectic yet focused body of work. I have no hesitation in recommending this album and look forward to the group’s next appearance here in Malta.

The album Diversity is now available on all streaming platforms and can be purchased on Bandcamp.com. For further information, visit www.carlomuscat.com.