Parallel Worlds by Dave Douglas: A Sonic Adventure Worth Diving Into
Let’s cut to the chase—Dave Douglas’ Parallel Worlds isn’t your typical jazz album. Released in 1993 on Italy’s Soul Note label, this record dives headfirst into avant-garde jazz and post-bop territory, blending wild experimentation with moments of raw beauty. It’s like someone handed a bunch of insanely talented musicians a blank canvas and said, “Go nuts—but make it sound good.” Spoiler alert: they nailed it.
The lineup here is ridiculous. You’ve got Dave Douglas himself on trumpet, Mark Dresser holding down the bass, Michael Sarin smashing drums, Erik Friedlander adding eerie cello vibes, and Mark Feldman weaving violin magic. Oh, and let’s not forget Tim Berne as co-producer, because apparently one genius wasn’t enough. The whole thing feels alive, unpredictable, and kinda messy in the best way possible.
Now, onto the tracks that stuck with me. First up: “Loco Madi.” This tune grabs you by the ears right outta the gate. It starts off all chaotic, like everyone’s playing their own private jam session, but somehow it clicks together. Dave’s trumpet work is front and center, darting around like it can’t decide whether to be playful or brooding. And then there’s the rhythm section—it’s loose yet tight, if that makes sense? Like those times when you’re dancing awkwardly at a party but still killing it somehow. Every time I hear this track, I’m reminded why I love jazz so much: it doesn’t need rules to feel right.
Another standout is “Ballad In Which MacHeath Asks Everyone To Forgive Him.” Yeah, yeah, long title, I know. But man, does it hit differently. It’s slower, moodier, and packed with emotional weight. Mark Feldman’s violin pulls at your heartstrings while Erik Friedlander’s cello adds this haunting undertone. There’s something cinematic about it, like it could soundtrack a gritty noir film where everyone’s secretly miserable. By the end, you’re left wondering who MacHeath even is, but honestly? That mystery just adds to the charm.
What really ties everything together is how organic the whole project feels. Sure, Dave Douglas wrote most of the tunes and arranged them, but it never comes across as overly polished or calculated. These guys are clearly vibing off each other, taking risks, and letting things unfold naturally. Credit also goes to Jon Rosenberg for recording and mixing—it sounds crisp without losing that live, human touch.
Oh, fun fact: Gunther Schuller wrote some liner notes for this album. If you don’t know him, look him up—he was basically jazz royalty. Having his stamp of approval says a lot about what Douglas and company were trying to achieve here.
So yeah, Parallel Worlds might not be for everyone. If you’re expecting smooth, easy-listening jazz, you’ll probably walk away scratching your head. But if you’re into stuff that challenges you, keeps you guessing, and rewards repeat listens, this one’s gold. Honestly, every time I spin it, I notice something new—a little riff, a weird chord change, or some subtle interplay between instruments. It’s like peeling an onion, except instead of crying, you’re smiling.
And hey, isn’t that what great art’s supposed to do? Make you think, feel, and maybe question your life choices? Or maybe that’s just me. Either way, give Parallel Worlds a shot. Just don’t blame me if you start hearing trumpets in your sleep.
