A Nu Piano Groove

As a member of Brooklyn’s “Nu Jazz” movement—established a few years ago by priced-out-of-Manhattan musicians—Seattle-born Aaron Parks seeks to reclaim the spontaneity that was characteristic of the Miles Davis–led cool-jazz era with his new album, Invisible Cinema.

The 24-year-old pianist’s use of notes is minimal, taking advantage of the atmosphere around him to create his trademark sound, which can go from very subtle to extremely complex, as evidenced by “Karma,” which features his band’s four musicians constantly exchanging improvised riffs throughout the tune.

“The songs that make up the disc were all composed in the last three years or so, but it was only in the last year and half, since I decided that I wanted my band to be a quartet with guitar, that they really came together in their present form,” Parks explains. “Having the guitar in the band gives us the ability to build much more drama and intensity than could be done with just a piano trio. And once the music started to take on these dramatic qualities, it became clear that the record could be about storytelling and narrative, rather than just a collection of unrelated compositions.”

Listen to his songs, and you’ll find surprises at every corner. For instance, the African-inspired “Peaceful Warrior” (written for Beninese guitarist Lionel Loueke) begins with a repetitive groove but then changes into a modern Brazilian format, with guitarist Mike Moreno taking the lead on a highly accomplished solo.

“The song has a lot of different influences, and African and Brazilian music could certainly be counted among them,” Parks admits. “Around the time that I composed the song, I was listening to a lot of Rokia Traore, and the simple power of some of her pentatonic melodies was affecting me greatly. I’ve always listened to tons of Brazilian music, especially Milton Nascimento, and the solo section of the song was inspired by a section of his song ‘Nothing Will Be As It Was.’”

Parks’ music is not recommended for those whose tastes are more inclined toward straightforward jazz; his complex melodies might be a little too much for them. Those who come to his upcoming concerts—Sept. 10 and Sept. 11 at Jazz Standard—should do so with an open mind.

“I would urge people to come without expectations, because that’s much more fun, I think,” he warned. “But if you’re going to expect something, expect to hear some of the songs from the record, but done differently. We’ll be searching for the freedom within the structured forms of the compositions.”