Rain Bather – Tobin Mueller (reviewed by Dave Franklin)

Rain Bather is a collection of songs taken from Tobin Mueller‘s Frankenstein-based Broadway show, Creature. Although many of the tracks have seen the light of day elsewhere, here they are rendered into a more openly and obvious jazz style. Through this process, Tobin seeks to transcend the original recordings, imbuing the songs with a more vibrant, living, breathing and new lease of life. Or, as the good doctor himself might say, “It’s alive!”

As is often the way when Tobin has opted not to stick to a particular style or genre, this is an album that wanders all over the jazzscape and even encroaches brilliantly on a few neighbouring sonic territories too. As soon as the aptly named “Lightning Strikes” descends to open the album, you can tell that you are in for a wild and wonderful ride, its blend of forward-thinking big band sound, meets freer jazz forms, resulting in a big, boisterous orchestral sound, built of interlocking intricacies and adventurous solos. That’s how you make an entrance.

By contrast, some songs are controlled and sedate, following more expected and recognisable structures. “River Runs Through Me” is a melodic and mellifluous piece, a blend of Tobin’s organ and the deft piano of nephew Chris Mueller, which acts as a framework and platform for Woody Mankowski to lace his delicious saxophone through, over, and around and above and beyond the keyboards.

Between these extremes in style and impact, we find songs that lean one way or the other. “Caught in the Current” is a percussive-driven and oft-frantic array of sounds, its energy and tumbling nature reflecting the title. “Waltzing Night into Day” is a delicate piece soaked in late-night jazz vibes and seductive dancefloor serenity, at once nostalgic and escapist.

We end with “Finding No Path,” a track that borders on many other styles and genres, from progressive rock energy to Latin rhythms, to the more experimental end of ’50s style jazz and big band sounds, and some memorable drum work from Dane Richeson. A song which also neatly sums up Tobin Mueller’s exciting approach to music, one that sees any sound or style, genre or geography, era or attitude as fair game as influence and inspiration.

As always, you’ll get a lot of enjoyment out of this album. It is adventurous and experimental, blending the fresh with the familiar. While some of the music is recognisable, what Tobin Mueller does with it and where it goes next is as unpredictable as it is awe-inspiring.