Review: Steven Bernstein’s ‘ResoNation Trio’ and ‘Ultra Resonance’

Trumpeter. Composer. Bandleader. Arranger. Conductor. Steven Bernstein is many things, with those five descriptors only scratching the surface of his capabilities. He’s made music for films, had his compositions choreographed by Alvin Ailey Dance Theater and Twyla Tharp, and has worked with several progressive jazz artists. He was also instrumental in Levon Helm’s late-career success, which contributed to three Grammy Awards. His “little big band,” the Millennial Territory Orchestra, now marks twenty-five years. His small ensemble, the improvisational quartet, Sexmob, goes back three decades, most recently backing Laurie Anderson. Throughout it all, Bernstein has forged a unique perhaps as perhaps the only true master of the slide trumpet. His putting the instrument aside in favor of a valve trumpet, as he does on ResoNation Trio (Royal Potato Family, 2026) and Ultra Resonance (Royal Potato Family, 2026) is inherently noteworthy.

ResoNation Trio is essentially Bernstein’s equivalent of a tenor saxophone chordless trio, with the artisr sticking to the conventional valve trumpeter and flugelhorn in a totally acoustic setting. He’s accompanied by bassist Scott Colley and drummer Nasheet Waits, masters of this kind of trio format.  Because there are not many trumpet trio albums in general, the album sticks out on its own. But it is also the foundation for an even wilder outing with eclectic producer Scotty Hard. Ultra Resonance effectively recontextualizes the trio through Hard’s bold electronic lens. That includes Bernstein adopting the Electronic Valve Instrument, the incorporation of an additional drummer/percussionist – Jeremy Gustin – and Hard himself adding a wide array of keyboards, synths, effects, and even lap steel guitar.

Bernstein has been incubating the ideas for Ultra Resonance for four decades. His liner notes to the album reference Burning Spear’s Garvey’s Ghost (Island, 1976), a dub reinvention of Marcus Garvey, extensively influencing his views on the project. But he held off on sharing this initial inspiration with Hard until later. Bernstein simply handed over the trio recording to Hard and gave him an open-ended invitation to create with it. Almost nothing on Hard’s version is presented as originally played. Every single sound has been altered, reconfigured, chopped up, played backward, or in a different key. In some ways, their approach mirrors Teo Macero’s work with Miles on Bitches Brew (Columbia, 1970). It probably helps that Hard not only previously collaborated with Macero but, even more relevant, has worked collaborated with Bernstein for three decades. 

As for the underlying album, ResoNation Trio, Bernstein compares it to the “folk tradition” of musicians conversing around the campfire. Though he adds infinite harmonic, melodic, and sonic possibilities. Hard’s reimagining of it is more difficult to define or categorize. Although Bernstein feels the trio format is very much in the “jazz tradition” too, it has an “freer” feel to it with the leader taking influence from the likes of Don Cherry, Lester Bowie, Baikida Carroll, Wadada Leo Smith, and “Butch” Morris. His trumpet tone is crystalline, and Colley and Waits have plenty of room to make individual statements as well. Interestingly, nine of the ten compositions are Bernstein’s, except for the venerable Mississippi Sheiks’ “Sitting on Top of the World,” a superb rendering of the tune, where Colley and Waits rumble underneath the well-known melody, played poignantly by Bernstein. 

Hard’s surge of electronics on Ultra Resonance’s opener, “Argon,” is jolting, setting the tone for what follows. Aside from the trio source material, Bernstein also adds new recordings of long tones on an arsenal of trumpets, which serve as drones on some pieces. And then there is his debut on the EVI on the last track, “Niobum.” Beyond that, it’s Hard’s myriad of electronic layers and deep grooves powered by the percussion. As stated, there is little tangible linkage to the trio album. Ultra Resonance stands on its own bizarre, intriguing merits, almost like a modern-day Sun Ra futuristic vision, steeped more heavily in electronic effects.   

Put together, ResoNation Trio and Ultra Resonance takes the listener from accessible, sublime tones and moods to a completely different, disorienting, and at times puzzling experience. While not necessarily cohesive, the two albums are utterly compelling. What Hard does with the original trio’s work takes it to a place almost beyond comprehension.

‘ResoNation Trio’ and ‘Ultra Resonance’ are out now on Royal Potato Family. They can be purchased on Bandcamp. Stay tuned for our site’s interview with both Steven Bernstein and Scotty Hard on the albums.

Photo credit: Andrew Blackstein