It seems that every year there is at least one CD that manages to grab my unsuspecting attention and alert me to a new or at least to-me obscure talent. My candidate for Sleeper of the Year is this highly diverse set from Bay Area bassist Sam Bevan and his quartet with saxophonist/flautist Mas Koga, pianist Grant Levin, and percussionist Bryan Bowman. But of all the CDs in my review pile, why did I even notice Hawkeye? First, there’s the bright red cover with birds—they look more like swallows than hawks.  And I am an Iowa Hawkeye fan from birth. Which truly has nothing to do with this recording. But whatever tilted this one toward my ear, I’m grateful. 

Sam Bevan contributes six compositions to the set; Bowman adds four, Levin two and Koga one. Starting with the title track, composer Bevan’s strong basslines are evident from the first bar, as is the quartet’s mutual empathy and swinging sense of adventure. Bevan follows with a majestic vamp on “Miraje,” Levin and Koga soaring as one voice (Koga here on the bamboo shakuachi flute) before Levin breaks loose on his own lyrical journey. The flute and Bowman’s assertive toms give this one a slightly Latin pulse and keep the listener on edge, in a good way. “Reverance for All Things Small” floats down a bluesy stream, Levin showing a Jarrettish “reverence” for melody and lacey fills around Bevan’s tender solo. “Sneak Attack” suggests a dark thriller soundtrack before Koga enters mournfully on soprano, the quartet now more conversational, even argumentative with splashes of dissonant chords and rhythmic detours. “Ethereal” lives up to its title, Koga (again on soprano) conjuring Charles Lloyd’s prayerful moments, the rhythm section quietly regal. Bevan’s final contribution, “Spontaneous Root Violation,” could be a variation on a Monk theme, each musician doing his part to align jagged crystals into a free-form, Ornettish collage. 

On drumset and tablas, Bryan Bowman proves to be a worthy composer as well.  His “Event Horizon” leans a bit eastward, Koga (on alto) suggesting the influence of Chris Potter, while Levin’s solo takes on a more European elegance, managing to swing while teetering on more free explorations. “Moments to Years” brings it back to American balladry, a showcase for Levin’s exquisite touch; “Wake Me When It’s Over” is a mid-tempo post bopper, while “Perseverance” finds Koga again on flute, Bowman on tablas, everyone upbeat on a track that entices with international flavors, from Rio to Calcutta. Grant Levin’s contributions fall back-to-back, “Middle Ground” bustling with rush hour urgency, while “Different Lamps, Same Light” is the most extended journey of the set, the spotlight on the pianist’s patient and melodic improvisation, with his partners’ sympathetic support. 

Mas Koga’s one composition, “Hanabi,” closes the album, the composer on shakuachi flute, and again suggesting Charles Lloyd as he summons higher powers with high wavering pitches riding above minimalist abstractions from his cohorts.

Hawkeye is ample evidence that some of the most invigorating modern jazz resides outside of the Big Apple. 

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