Hristo Vitchev and Weber Iago

“Heartmony”

(First Orbit Sounds Music FOSM171)

The Bulgarian born guitarist and composer Hristo Vitchev has been based in the San Jose area of California for a number of years. He is a prolific composer and a number of his albums have been reviewed elsewhere on The Jazzmann. A constant presence on these records has been the Brazilian born pianist Weber Iago, the Lyle Mays to Vitchev’s Pat Metheny. 

“Heartmony” represents the pair’s second recording as a duo and expands upon the success of 2010’s “The Secrets Of An Angel”. If anything Vitchev’s writing is even more ambitious and the new album’s eleven tracks include the three part suite “The Farewell”. Vitchev and Iago are long term colleagues and their collaboration sounds instinctive, unforced and natural. Vitchev brings a melodic flair to his writing that draws on an obvious love for the music of Pat Metheny and a fondness for the “ECM sound” but he also adds elements of the folk music of his native Bulgaria to the mix. Iago is the perfect foil, always thoughtful and lyrical and with a delightfully light touch at the keyboard. The duo never get in each other’s way and there’s a genuine empathy between them that has eluded more high profile collaborations, notably Metheny and Brad Mehldau. 

Vitchev defines “Heartmony” as “the simultaneous combination of feelings and emotions, especially when produced by experiences, memories and stimulations pleasing to the heart, body and soul”. There’s also the obvious pun on “harmony”, musical and otherwise. It’s an apt if somewhat unwieldy title.

Although the compositions are all Vitchev’s this is a genuine duo recording with Iago enjoying plenty of space but despite the lengthy solo episodes it’s the passages that feature the duo in tandem that really impress. Opener “Under Trees Of Color, Over Fields Of Gray” features Vitchev’s cleanly picked, single note electric guitar lines underpinned by Iago’s flowingly lyrical piano. There’s a pastoral feel as suggested by the title and the piece is a good summation of the duo’s relaxed, but never bland, approach.

“Musica Humana” is more obviously Metheny-ish and sounds as if it could have come from the guitarists “New Chautaqua” album-albeit with additional piano. Vitchev moves between mellifluous electric guitar and tautly strummed acoustic, sometimes overdubbing himself, but he also allows plenty of room for Iago to express himself. Any Metheny fans stumbling across this would surely love this slice of spacious, melodic, evocative Americana.

There’s an air of wistful nostalgia about the lovely “Memories In Black and White” that seems to stem directly from Vitchev’s definition of “Heartmony” and this air of gentle melancholia is depicted even more graphically on the deeply lyrical and achingly beautiful “The Last Leaves which Fell in Fall” which sees Vitchev again switching between electric and acoustic.

“Crepescular Rays” is presaged by a brief but elegant prelude with Vitchev and Iago in perfect sync, the pianist is a sympathetic accompanist who is also held in high regard by singers. Iago is also heard at his best on “Crepescular Rays” itself as he trades soloing and supportive functions with Vitchev’s guitar and also adds some unexpected wordless vocals, a further acknowledgement of the influence of the Metheny sound on the duo. The quietly celebratory mood makes this one of the more upbeat tracks on the album.

The three part “The Farewell” begins with another brief but elegant prelude, this time entitled “Prelude to an Act of Departure”. The main part of the suite “The Imperative Expression” revisits the same kinds of emotions of nostalgia, melancholia and regret explored in the earlier “Memories in Black and White” and “The Last Leaves…”. Vitchev and Iago ivestigate these feelings with an air of yearning elegance and delicate restraint. Like all the pieces on the album the playing is understated and genuinely melodic. Both musicians are superb technicians but they serve the compositions faithfully, there is no virtuosity for its own sake, no grandstanding or show boating. The final section of the suite introduces an element of fresh hope. “And May We Meet Again” features Iago on percussion as well as piano and introduces a sunny, Latin vibe to the music as Iago brings an element of his Brazilian heritage to the proceedings.

“Prelude to a Melancholic Heart” is slightly longer than the other two introductory pieces. Lyrical piano alternates with the kind taut acoustic strumming that appeared on “Musica Humana”. Meanwhile “The Melancholic Heart” itself is more upbeat than the title might suggest with a positively joyous solo from Iago and the familiar mix of acoustic and electric sounds from Vitchev who adds a sparkling solo of his own. There also some wonderful collaborative passages that actually help to end the album on an optimistic note.

“Heartmony” is another good example of Vitchev and Iago’s unique partnership. The egoless approach adopted by each musician ensures that the duo is more than the sum of its parts - impressive as each musician is in his own right. Iago buys into Vitchev’s artistic vision totally and convincingly but also brings plenty of himself to the table. The relaxed, intimate mood of the album and the melodic quality of the compositions gives the work an appeal beyond the normal jazz demographic. Classical fans, particularly lovers of chamber music, may find something to enjoy here.

If the album has a fault it’s that it is, perhaps, over long as it weighs in with over an hour’s worth of music. This may tax the patience of even the most appreciative of listeners. For me the limitations of the duo format dictate that the ideal length for a recording of this nature is around forty minutes-i.e. the length of an old vinyl LP. Still I guess that I shouldn’t complain about the value for money that Vitchev and Iago are clearly happy to offer on what is actually a very good album. The highly creative and productive Vitchev continues to produce albums of a consistently high standard and reviews for “Heartmony” have been universally favourable. For all that he still seems to be undervalued, particularly so in the UK. Perhaps he’s a little too tasteful for his own good.     

 

 

 

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