Breathe by Chris Varga

Despite his evident virtuosity and the depth of his musicianship, vibraphonist and composer Chris Varga is likely a new name to many listeners in the U.S. After some years on the Chicago scene in the 90s, he moved to Seoul, South Korea, where he has been one of the busiest and most prolific members of that growing jazz community for over two decades. When an extended trip to the U.S. came up in 2024, Varga seized the moment to document his music with a top-drawer quintet of old friends at Ken Christianson’s audiophile Pro Musica Studio in Chicago’s Lincoln Park, blocks from Varga’s alma matter DePaul University.

Varga’s lead collaborator on Breathe is GRAMMY-award winning bassist and composer Clark Sommers, a confidante since their college days in the mid-90s. “As we get older,” muses Varga, “musicians are perhaps inclined to seek out projects that are social in nature; we want to make quality music with our close friends This project satisfied that urge in a very meaningful way.” Sommers brought in guitarist Dave Miller and drummer Neil Hemphill, both of whom impressed the vibist with not only their musical acumen but also their empathy and human warmth. To complete the ensemble Varga tapped another former Chicago connection, saxophonist Geof Bradfield. “Although we didn't collaborate frequently, I knew right away that Geof was a force to be reckoned with both playing-wise and compositionally. It has been a great joy to follow his prolific output in the last couple of decades.”

Breathe showcases Varga’s finely honed, distinctly personal voice as a composer, featuring a stunning collection of originals created over the last couple of years. “While the most recently composed tune "Breathe" was written specifically for this band, the older songs were also significantly revised to fit the character of each musician and, more importantly, tailored to the overall sound and communicative abilities of the group as a whole,” says the composer. Discussing his compositional influences, Varga relates that “much of this music was loosely influenced by eighties pop music. I was in high school, early college and thick in the cover band scene.” Depeche Mode informed the brooding melody of “Framing the Dragon,” while Varga had Tears for Fears in mind when he wrote the opening riff of “TMI.” In the able hands of Varga and company, these influences are intentionally subtle and sublimated into an organic modern jazz aesthetic.

The record opens with “Durantula,” an appropriately high-octane tribute to basketball icon Kevin Durant, dominating the court right out of the gate like its namesake. After the multi-sectional melody statement, Varga and Bradfield offer up blazing, virtuosic solos fueled by the driving rhythm team of Sommers and Hemphill. Miller’s solo closes the tune out in a dramatic, soaring coda.

A single repeated vibraphone pitch launches “Breathe,” quickly giving way to a soulful 6/8 backbeat under Bradfield’s warm tenor melody. Characteristic of Varga’s writing, the title track walks a fine between the familiar and surprising, singable melodies contrasted with pungent harmonies and subtly shifting rhythmic foundations. Featured here, Miller proves typically sympatico, offering his own surprises alongside a deep affinity for the blues. Tenor and vibes trade phrases at the end in a slow build to a collective improvisation over the guitarist’s atmospheric electronica.

Several quartet numbers serve as a change of pace, foregrounding the ethereal yet earthy combination of Varga’s vibes and Miller’s guitar. The unusual stuttering meter (9/8 alternating with 4/4) of “Lid” brings out Hemphill’s hip hop roots. Miller’s distinctive guitar sound, satisfyingly twangy and biting, again proves an excellent foil for the leader’s fluid, lyrical work on the vibes. Varga’s effortless melodicism is especially
compelling on “Passing Remark,” a rubato ballad that evokes Keith Jarrett’s American quartet with Charlie Haden, Paul Motian and Dewey Redman.

Bradfield rejoins the proceedings for “TMI,” a funky samba rife with intricate, serpentine melodic lines. His tenor solo breaks away from the groove, exploring various colors and textures before segueing into a spirited duo with Hemphill. Vibes and guitar follow, their rollicking conversation leading to a tight ensemble ending.

The album concludes with “Gentle Vicissitudes,” a haunting processional that begins with an emotive bass solo intro from Sommers. Varga’s tender viberaphone melody is framed by Hemphill’s mallet work, setting the stage for wide-ranging, expressive solos from Miller and the leader. Here and throughout Breathe, Chris Varga distills his many and varied influences and experiences into a deeply compelling, personal musical statement.

Vibraphonist and composer Chris Varga has a broad background that encompasses multiple genres. His album “Dancer In” (2010), features Mark Ferber on drums and Clark Sommers on bass. More recent recordings, include “Vichara” (2023), a solo record, and “Ninth House” (2024), by Trio Skein. “Breathe” (2025), on Calligram Records, features all original tunes and showcases Chris’ Chicago based quintet.

Instagram
YouTube