Chris Potter : Eagle’s Point Review

by Steven Miller

Chris Potter’s Eagle’s Point is the kind of album that only comes around when the stars align—literally and figuratively. Featuring a modern supergroup of Brad Mehldau on piano, John Patitucci on bass, and Brian Blade on drums, this release on Edition Records marks a triumphant moment in contemporary jazz. Each of these musicians has carved out a legendary career in their own right, but here, they come together as one, creating something that feels rare and special.

This album, composed entirely by Potter for this occasion, is a meeting of jazz giants; it’s a convergence of individual mastery, collective synergy, and compositional brilliance. The ensemble’s chemistry is undeniable from the first second, with every musician listening, responding, and elevating the music. Potter’s compositions are intricate and inviting, providing each musician the space to express themselves while demanding cohesion from the group as a whole. The result is a dynamic eight-track album that balances virtuosity, intelligibility, and exuberance with contemplation.

The album opens with “Dream of Home,” Mehldau’s gorgeous piano voicings setting the tone for what’s to come: a rich tapestry of melodies and counterpoints through a textured form and inventive harmonic patterns. The composition builds steadily, with harmonic colors and counterpoint moving effortlessly through the ensemble. Potter’s tenor saxophone shines with unbounded energy, and his solo is a masterclass in shape and emotional depth. As Mehldau and Patitucci weave their lines around Blade’s elastic drum work, you can feel the ensemble locking in, laying the foundation for us to witness their communicative greatness.

In “Cloud Message,” the group’s rhythmic creativity and fluidity come to the fore. Mehldau’s piano solo is buoyant, his time feel dancing over the pulse laid down by Patitucci and Blade. The interaction between Patitucci and Blade is magnetic, as they playfully trade phrases and build a communicative exchange. Potter’s saxophone, once again, soars with a stunning solo that feels as adventurous as it is deliberate, each phrase a response to the shifting rhythmic and intervallic patterns around him.

Potter’s versatility is further expressed in “Indigo Ildikó,” where he switches to bass clarinet, lending a classical timbre to the composition. His tone is rich, his agility impeccable, and the ensemble speaks in a unified modern jazz language. Patitucci’s lovely bass solo is a standout, and Blade’s sympathetic drumming subtly directs the piece’s motion. The second half of the tune shifts gears, with Potter returning to the saxophone to lead the ensemble in a more energetic direction.

The title track, “Eagle’s Point,” is a showcase for the ensemble’s harmonic interplay. Potter and Mehldau engage in a stunning conversation, their lines dancing around each other, as Patitucci and Blade generate an infectious groove underneath. The motivic phrases that slide across Potter’s and Mehldau’s interactions anchor Potter’s tenor solo as he explores the possibilities of harmonic conversation. Both are unafraid of venturing into adventurous, outside playing as the consistency of harmonic and melodic interactions remain in the same color tones. Mehldau’s statement is equally bold, adding a polychromatic and polyrhythmic feel to the track before Blade takes his turn of expressive focus.

One of the album’s most delicate moments comes in Aria for Anna, a lyrical ballad that sees Potter on soprano saxophone. The interplay between Potter and Mehldau here is exquisite, each musician responding to the other’s phrasing and direction with grace and finesse. Mehldau’s unaccompanied piano solo is particularly striking, and his ability to create layers of counterpoint and harmonic elegance is unmatched. Potter’s solo is tender and expressive, his use of contemporary jazz language unrestrained and profound.

The album closes with “Horizon Dance,” a celebratory track that captures the ensemble’s dynamic synergy and spirited authority. Potter’s rhythmic opening solo sets the stage for a funky jazz groove that dances beneath his soaring tenor lines. Patitucci and Blade are a force of nature here, with their rhythmic foundation being solid and playful. Blade’s colors on the drums inspire Potter’s solo, which builds to an exhilarating climax. It’s a fitting conclusion to an album that celebrates the convergence of these four musical minds.

In Eagle’s Point, Chris Potter has crafted an album that is as much about the collective as it is about the individual. Each musician brings their own brilliance to the table, showing their ability to listen, respond, and elevate each other, which makes this album truly special. Potter’s compositions provide the framework, but it’s the ensemble’s synergy that turns these pieces into something transcendent. Whether you’re drawn to the intricate interplay or the moments of virtuosic soloing, Eagle’s Point is an album that rewards multiple listens, revealing new layers of depth with every spin, and is a must-have for any jazz fan.