The abstract expressionist movement of post-World War II America ignited a rebirth of artistic expression unlike any other seen before. Years of political and social unrest along with a profound desire by the artistic community to defy conventions created the perfect storm for the formation of innovative ideas which introduced sweeping change across the cultural and artistic landscape. Although the experimentation resulted in changes to modern art forms which to this day continue to inspire critical discourse, the scope of abstract expressionism’s influence should not be limited to discussing paintings because of the transformative effect these experiments had on other art forms, including music and especially on jazz. Artists like John Coltrane, Ornette Coleman and Cecil Taylor sought to move beyond the limitations imposed by the traditional conventions of jazz. Their experiments with content and form resulted in the beginnings of the free-jazz and avant-garde jazz movements of the 1950’s and 1960’s. The spirit of introspection, experimentation and innovation ushered in by these jazz luminaries can be heard today in the music of bands like The Agent-K Quartet.
Founded in Miami in 2001 by bass player and bandleader Kenny Córdova, the Agent-K Quartet’s 2009 debut album Mouvements is the first to be released on the Abstract Records label. It is as much a tribute to the giants of free-jazz and avant-garde jazz as it is the embodiment of cultivated elegance and uninhibited exploration within the jazz idiom. The band’s strengths - intuitive communication, affinity for improvisation and formidable musicianship – shine through on each song. The Quartet does an impressive job of negotiating the improvised composition structure typical of free-jazz form with the predetermined structures common in avant-garde jazz to create vivid surrealistic sonic images ripe with intensity and emotion. These songs are brought to life through each musician’s unique voice. Each instrument remains in fluent conversation with the other, occasionally punctuating with percussive bursts and melodic eruptions. This confluence of sounds - bass, trumpet, electric piano and drums - come together in perfect harmony.
When asked to elaborate on the creative process, Córdova remarks “David (Burgos) and I will start a piece with some type of sketch, but it quickly becomes more of a “movement” rather than a song.” Although the songs on the album are not being performed in succession, without a pause, as is the case with a movement in the classical context, they relate to each other thematically to exert a cumulative effect. Moreover, this motif borrows heavily from modal jazz where modal scales, instead of chords, are used to write songs. It’s no coincidence then, that Miles Davis inspired the Quartet’s work, "our music is written in an impressionistic style which references Miles and charts a course straight for the stratosphere," says Córdova. Burgos adds, "Kenny pushes the band to explore the limits of improvisation where nothing -- neither form, nor melody, nor structure -- is a given."
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