It's been a while I wrote something longer, but, well, special things require special measures.
Have to say that Jason's SP as a sole concept 'on the paper' blows my mind for good past few seasons - he together with Rohene truly mastered the idea to put a mini-spectacle out there, managing to let us sometimes forget he performs it all on the ice. Seeing 'Sinnerman' yesterday shook me to the core - maybe it was about just missing Jason's incredible quality of skating he gives and maybe the program hit me that hard.
I always marvel over Jason's musicality, but in this SP I think he takes it to a different level, even for himself - with such intricate music piece like 'Sinnerman', it requires a sensitive hand to make the music stay as standout as it is AND to make it in synch with performer. Rohene did a PHENOMENAL job of making it happen and Jason truly outdid himself considering circumstances and that this was 1st performance of this SP.
The most insane thing for me right now? That this was just the beginning of this program's growth. It's already so sublime all around to watch and so 'tasty' to process. Jason is one of this few people in skating who manages to produce performance engaging all senses & integrate vision with sound in special, unique way for me. This 'sensuality' level of the way he integrates choreography with music and his body movement makes it all so complex - and with the amount of transitions added into that SP, there's almost a sensory overload experience lol. But to be honest, Jason makes woven intricacy on so many levels just RIGHT to watch & savor.
Another thing that made that performance so great was his confidence. To pull off this kind of number, selling out choreography and carry on with technical skills without disrupting the flow of whole thing it requires to be totally convinced about your craft - despite PACKED program, I saw how Jason caries about expressing it by his whole body; one of very few skaters who can translate charisma/feel of the music by mere flick of his wrist or hand movement.
It hit me also how amazingly Jason managed to expand & develop his own, already established brand of skating - not taking any difficulty from pulling off a quad, but sometimes it's hard to imagine for me how difficult it has to be to preserve this level of overall detail/quality of edge, of performance nuance and constant repertoire re-invention inside of a skill Jason possess. Taking split, stag jump, spirals by themselves as elements require a lot of work to put on, but to make these elements seamlessly flow one into another in-between jumps/spins with no impact on tempo/musical accentuation/expression level just blows my mind, beyond remarkable to witness.
I am personally very happy to see that Jason never stops to polish his skill and to find new ways to expand it in competitive performances - that he focuses on gradual development of his technical content with constant upping his artistic ante out there. Would I prefer to see him already having a stable quad? Of course I would because I would feel much stronger towards his competitiveness in strict sense of that word as he is my favourite man in the field. But one thing I learned to loathe in skating is HURRY, especially a forced one - with Jason, the utter satisfaction his all-around presence and skating brings to my FS watching experience, I think the worst thing happening would be to see him losing that artisanal craftmanship confidence over his own brand built & developed over the years over forcing technical content upgrades (quads). I wish the usual narrative appearing at all times when he produces performance like yesterday's of diminishing his value because of not being on par with ppl with quad content would for once think the other way around - why there's so little/none of a call out and negative narrative/scrutiny directed towards skating with multiple quads that lacks in other, often basic, areas? Sometimes it seems like a lot of folks can't just stomach the idea not only pure skating quality thriving, but also of enjoying it so widely by audience who I think by majority totally acknowledges technical capabilities of Jason's skating at this point. It's almost like I was told that I shouldn't enjoy Jason's skating in it's current state just because he jumps no quad in competition, which is beyond hilarious to be honest.
'Sinnerman' SP oozes of sophistication and nuance level I don't think I ever saw from Jason - there's that 'compress/release' kind of performance energy there, characteristic for him, but taken to a different dimension I feel; it's more evocative through body shapes and gestures than I ever saw from him - there's something electric going on between that music & how the movement 'makes dialogue' with it. And the way Jason manages to build/graduate performance intensity is really second to none, even with such intricate pieces of music.
I wouldn't really name this performance or a program as a concept as 'beautiful' - it's more about sensual grittiness, edge simmering under beyond elaborate surface made of flowing motion. It's more of an artful creation/experience already and seeing this was just a premiere, it's SCARY. Chapeaux bas, Jason.