House of Waters – On Becoming: Improv Sessions Review

What does House of Waters sound like?

What if a jazz trio replaced the piano with a hammered dulcimer, and the double bass was an electric one?

The review of ‘On Becoming: Improv Sessions’ by House of Waters

Merging together the jazz trio in a totally new light, House of Waters released their superb 2023 album ‘On Becoming’ to acclaim. The hammered dulcimer, electric bass, and drum setup continued to let House of Waters flow. What I didn’t realise at the time was that four of those tracks were improvised performances. The concept of the album was about presentness. You must be fully present if your performance is a one-time event, never to be captured or performed the same way again. This idea is expanded upon with ‘On Becoming: Improv Sessions’.

This eight-track album takes unreleased improvisations that were recorded as part of the same sessions. Five of the tracks are just called “Improv…” and a number, showing just how ephemeral and in the moment they were. My affinity with the hammered dulcimer is what drew me to House of Waters initially, and Max ZT spends much of the album noodling around cascading notes or mini motifs. He dresses the more jazzier grooves of Moto Fukushima’s 6-string electric bass and Antonio Sanchez’s drums. ‘Improv 9’ is a great example of slinky basslines and a jazzy jam feeling free and easy. ‘Improv 6’ could pass for a lost GoGo Penguin track at times with its modern jazz approach, whilst ‘Improv 4’ plays out like a desert mirage at first before transitioning to a reggae-jazz vibe. Don’t accuse House of Waters for being stuck in one lane…

Elsewhere, other tracks feel more purposeful. ‘Tsumamiori’ is a taut rubber band of rumbling percussion, dulcimer harmonics, and a bass being played closer to an African kora. The instruments merge and unfurl at such a vibrant pace that it’s quite hypnotic. ‘Folding Cranes’ uses the hammered dulcimer to flutter wisps of notes around like thin netting. The ephemeral shimmer of the notes waxes and wanes like a flock of birds, gently underscored by warped bass and a muted percussion. ‘Kabuseori’ is a wistful, melodic track. Moto’s sliding bass fingers shine here as he provides a stable spine for Max’s speedy hammering. The bass slides in a way that sounds more like a synth pitch bend sometimes, and it adds a lot of character to the music.

The collection of improvisations closes out with two more numbered tracks. ‘Improv 12’ is possibly the most visceral and freeform jazz of them all. Each performer has free rein to go solo and explore octaves of notes before returning together for a dramatic conclusion in unison. ‘Improv 13’ is a gentler finale and one that focuses more on melody and soul.

Whilst I appreciate the commitment to being present and in the moment, this feels like a “for the fans” album. I wouldn’t recommend it as the place to start (unless you love jazz improv). Instead, start with the album ‘On Becoming’ and go back through their catalogue. There has always been an element of improvisation, it seems, across their work, but the structured songs show off the virtuoso talents of Max and Moto best (Antonio is a very welcome guest musician and has oodles of talent too). There is a reason why NPR called Max ZT “The Jimi Hendrix of the hammered dulcimer” and you experience that talent in full force on the more structured albums.

Recommended track: Folding Cranes

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