avant-jazz

What is to be done?

On these three extended tracks, the trio of saxophonist Larry Ochs, guitarist Nels Cline and versatile Detroit-born drummer Gerald Cleaver put structured improvisation through a metal-meets-free jazz wringer, for lack of better characterization.   Starting off on an ominous note, the music feels like a controlled experimental rock jam performed by seasoned free jazz players. It’s dark, grooving, exploratory, and never really settles on one mood but mixes it up as it goes along. Cline brings a sonic palette to the table – loops, pedals, effects – that makes the music both forward-looking and anchored in the far edges of the genres it channels. The opener “Outcries Rousing” sets the agenda for the ensuing improvisation. This is a world of smoldering ashes and throbbing ruin. Nothing here gets unbearably loud though the three improvisors create a lot of intense momentum as they go from whispered rumbles to searing jams. “A pause, A Rose” finds the trio reassessing the damage done in slow motion, building to new horizons while looking back to spooky 70s Sun Ra. Cleaver is happy to keep the grooves simmering under the surface, never really locking into a steady beat but suggesting more chaos is coming. The third and concluding track “Shimmer Intend Spark Groove Defend” is almost self-explanatory. Blasts of fuzzed-out guitar and saxophone coughing honks stumble and dovetail as Cleaver’s drums orchestrate the demolition in subtle lockstep.

An enthralling performance for our troubled times.

What is to be done is out on the impeccable Clean Feed record label.

Merely this, and nothing more

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Ghosts, by nature, are hard fellows to get hold of. Their presence can be haunting and pervasive but good luck catching up with them over coffee. They seem to be here and not here at the same time. A revered musician among his peers, pianist Craig Taborn has played on so many recordings by himself and other jazz/avant jazz musicians that the “ghost” moniker some of his friends sometimes refer to him as seems to be a bit of an overstatement. The man keeps a low profile and doesn’t seem so much interested in cranking out albums for self-promotion’s sake as in experimenting with various musical settings that fit his eclectic aesthetic inclinations. So when Taborn does put an album out, you’d better catch the ghost while he’s around because the music is likely to deliver on and defy your expectations.

One would be hard pressed to define the basic characteristics of ghost music. ( And now the Ghostbusters theme is stuck in your head, I’m sorry!) On his recent quartet release Daylight Ghosts, Mr Taborn displays his penchant for ethereal yet deeply grounded music. The composer/improviser is arguably one the few voices in jazz who can successfully bridge the gaps between such polar opposites as underground Detroit techno, contemporary classical music, Midwest punk rock, Sun Ra and free jazz, without the listener realizing immediately that those influences are actually there. As on his previous albums, the composer favors the transient spaces where the music seems poised to go in one direction and ends up going the other way. His deep involvement in intricate rhythms, shifting time signatures and heavy intoxicating grooves is all in evidence here. For this endeavor he convened a fitting cast of like-minded friends featuring Chris Speed on tenor saxophone and clarinet, Chris Lightcap on double bass and electric bass and Dave King on drums and electronic percussion. This modern jazz album has all the makings of a spacious ECM record straddling the worlds of classical modern music and contemporary chamber-like jazz. Taborn’s voice is particularly strong as a compositional presence, his piano playing often geared toward arranging the music at key transitional spots and setting heavy left hand bass grooves to shift gears between the sections of a song. The 9 tracks flow together in one seamless suite of through-composed themes, free-form blowing and recurrent patterns picked up by each instrument at various spots. With such titles as “Abandoned Reminder” , “The Great Silence” or “Phantom Ratio”, this is the work of a major jazz composer who strives and successfully assembles apparently disconnected elements into one cohesive piece of music. The opener The Shining One sets the tone of the album. Speed states the serpentine theme once, Lightcap steps right in to provide a contrapuntal groove and Taborn builds on the thematic material before Speed reenters and states a longer version of the theme in unison with Taborn.  And then they all move into collective improvisation. This process pervades the album and works well as it gives a creative opportunity for the musicians to steer their instruments from their usually prescribed roles. Bass and drums have no monopoly over timekeeping and the beautifully crafted melodies segue organically into improvised sections where the collective whole is greater than the sum of its parts. On the title track “Daylight Ghosts, Taborn locks into a 5/4 meter groove that he maintains throughout the last section of the song while a new theme surges on top and carries the song through. Evidently, Taborn enjoys this compositional idea as it occurs repeatedly here as well as on his much recommended trio albums, especially Chants (with Thomas Morgan and Gerald Cleaver, 2013, ECM) “The Great Silence” has Speed fluttering around on clarinet like something out of Prokoviev while the others come in and keep things simmering and sparse under the surface.

Nothing gets too intense on this album as ghosts are not the boisterous type. However, the subdued intensity is there, lurking in those melodic fragments and beautiful silences. “Ancient” starts off with a short bass solo leading into a collective cat-and-mouse chase, finally building into a techno-like anthem gone off-kilter. “Subtle Living Equations” is a feature for Taborn’s beautiful harmonies floating in an enveloping ether. “Phantom Ratio” brings the album full circle, Speed intoning a brooding chant as if coaxing over the other musicians, ghosts in their own right. Taborn obliges with a techno-ish groove on a spooky synthesizer, later joined in by King and Lightcap complementing the rhythmic foundation with unexpected counterpoint.

It is unlikely that this quartet will ever perform this music on stage. After all, you can’t just call ghosts and expect them come right in. But be sure to get this album and another favorite of mine, Chants on which the song “Speak The Name” has been driving me crazy for months and I can’t seem to fully understand why it is so good.

Craig Taborn, Daylight Ghosts,  2017, ECM

Craig Taborn   Piano, Electronics

Chris Speed   Tenor Saxophone, Clarinet

Chris Light   Double Bass, Bass Guitar

Dave King    Drums, Electronic Percussion

 

 

 

 

 

 

 

 

 

 

 

 

Nicole Mitchell’s Black Earth Ensemble, Intergalactic Beings

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Among the many gateways to appreciating jazz, science fiction doesn’t come to mind immediately. Yet the theme has been consistently documented on record, from Ornette Coleman’s aptly titled album Science Fiction to Sun Ra’s cosmic explorations. You name it.

On Intergalactic Beings (FPE Records), composer and avant-flutist Nicole Mitchell continues to explore the work of African- American writer Octavia Butler, here focusing on the perpetuation of humans through interaction with benevolent and life-saving aliens. In this futuristic scenario, humans are recovering from nuclear war and have been abducted by and forced to breed with extraterrestrials to survive as newly regenerated forms.

Wait a minute, what’s that got to do with music? Let’s take a listen to find out.

Consisting of flute, tenor sax, bass clarinet, trumpet, sralai thom, violin, cello, electric guitar, bass, percussions, drums and vocals, the album offers a richly layered soundscape full of textured dynamics and phantasmagoric storytelling. From the stuttering motion of the opening “Phases of Subduction” to the closing “The Inevitable”, the music unravels its mysteries in a complex spool of interweaving lines fraught with eerie darkness. The track “The Ooli Moves” is a trance-like dance introduced by the unison line of bass and violin that gradually builds into a haunting maelstrom plodding along with burning urgency. After the first motif fades away, a fuzzed-out bell-like guitar interlude brings in the second motif and there’s a sense a transformation has occurred. “Transformation is inevitable” warns vocalist Mankwe Ndosi and the well-chosen titles match the transient quality of the songs, each of which seems to evolve through various shape-shifting phases. On “Dripping matter”, for example, a honking wail of guitar, violin and horns seem to drift in and out of the dripping rain soon pierced by Josh Abram’s cavernous bass tumbling along in the oozing murk. The song segues into “Negotiating Identity”, which has oenomatopeic vocals – the post-mating language? – a serrated freeform sax solo which blends into the initial wail returning to close out the song. In this experimental setting, Mitchell’s flute takes a back seat for much of the album except for a compelling solo on the closer “The Inevitable”. Not taking anything away from the leader’s instrumental chops, her art, at least on this album, has more to do with the organic unity the album achieves in its 9 multi-section songs, balancing improvisation and composition in a rigorously structured and challenging narrative. In the liner notes, Mitchell explains: “by musically illustrating the process of fear, resilience and transformation with Intergalactic Beings I created sonic experiences to confront the listener.” And confronted we are. These songs are full of raw energy, alternating exploratory ensemble playing with alluring thematic statements reflecting the composer’s deep sense of form. “Resisting Entanglement” is a shining example of that. A little daunting in scope at first, the rewards of the album will amply reveal themselves after a few listens and a couple of trips in outer space.

Intergalactic Beings is available on the FPE record label. Many thanks to FPE founder Matt Pakulski for hipping me to Nicole Mitchell and the Matana Roberts connection.

Personnel:  Nicole Mitchell: flute, composition; David Boykin: tenor sax, bass clarinet; David Young: trumpet, sralai thom; Jeff Parker: electric guitar; Joshua Abrams: bass; Avreeayl Ra: percussion; Marcus Evans: drumset; Tomeka Reid: cello

Cool video of “The Ooli moves”

https://vimeo.com/fperecs/oolimoves

 

Better get hit in your soul: praise for Matana Roberts

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Three syllables – stress on the first one – Ma-ta-na.  The multi-talented artist has been an obsession of mine in the last couple months (scroll down for my album review of Mississippi Moonchile, the latest installment in the Coin Coin series). True to form, I was about to say goodbye to bloggy land– keeping amateurish culture blogs is so 2013! – and bang, it hit me. Matana Roberts. I’m so thankful the composer, vocalist, alto saxophonist and self-professed sound quilter is giving me a chance to bring wynt into 2014. That’s how empowering art can be.

Having given a good listen through Coin Coin Chapter 1 over the weekend I feel somewhat recharged and eager to hammer in the message, dear readers: Matana Roberts is a great artist, a soulful experimentalist that should be known beyond the jazz/improv sphere. Constructed like a suite, Coin Coin 1 explores the ongoing consequences of slavery in present-day America through Robert’s deeply ingrained sense of storytelling and compositional prowess. For an artist whose roots are anchored in that traumatic heritage, I’m stunned and moved by her ability to stitch together the narrative of African American history without sounding preachy or pandering to the lure of the oneoff concept album. Built around the iconic figure of Marie-Thérèse Métoyer – a freed slave and family lore role model “[she] learned about before [she] learned about Harriet Tubman” (Interview in The Wire 356), the suite evokes a string of women’s slave narratives skillfully set to a variegated sound tapestry including Robert’s sing-speak, gut-wrenching shrieks, searing alto saxophone lines and a 15-piece orchestra that reinforces the album’s spiritual aura. It’s fairly rare these days to hear music that is at once fiercely political, artistically challenging and emotionally powerful. The sheer scope of this projected 12-part series is mind-boggling and it speaks to Robert’s urge to connect the scars of the past to its ongoing echoes in today’s American society. Robert’s blistering sax on the opening “Rise” sets the tone for an album that acknowledges its jazz and free improv roots just as it nods unapologetically to the Armageddon chamber rock originated by Godspeed on the Canadian Constellation label.  For that matter, Roberts has contributed to the band’s Yanki UXO (2002) and Thee Silver Mt Zion Memorial Orchestra’s Kollaps (2010) and here the use of a simmering pandemonium of violin and electric guitars building and waning as the story unfolds somewhat recall the trademark soundscapes of the label. However, there is inevitably a more Afro-American-centric agenda here and a clear sense that Roberts has gained invaluable experience from her time with the 40-year-old Chicago-based AACM (Association for the Advancement of Creative Musicians) arts and education collective, which has been an influential fixture for African-American artists striving to make artistic statements rooted in political, open-ended artforms. Here is an artist trawling through family archives documenting slave auctions where her ancestors were sold like cattle and building on that background to make a work of art that is by turns chilling, entrancing and, yes, uplifting. Like any good work or art, this one is multi-layered, showing off Robert’s painstaking attention to form and structure. The devastating shriek on the second track, Pov Titi, is the ideal introduction to Robert’s radical griot-style song-speech: “I was born a child of the moon, in the year of seventeen hundred and forty-two…hustling to survive so that others may strive to be something more than me”, she intones over a descending bass line soon fleshed out by the swelling orchestra.

Astonishingly, Robert’s diverse vocals, a rotating mix of rhapsodic chant, epic spoken word poetry and melodic fragments doubling instrumental lines are so galvanizing that it alleviates the human tragedy she’s relating. That cathartic effect percolates through the album like a healing balm working its way into open wounds. In one particularly affecting piece evoking the bidding in of women slaves, “Libation For Mr Brown: Bid Em in”, Robert’s obsessive refrain works like a soothing mantra as she impersonates the auctioneer reading out the characteristics of the woman to be sold. As she gathers strength and defies her oppressors, a steady beat settles in and Matana vocalizes a line to get the bass going, followed by piano, drums and a rising canon tailing off into the brooding sax.

What I find remarkable about Robert’s art is that the complexity of relating the African-American experience is reflected in the diversity of musical ideas she layers together. The contrasting mixed media mediums she taps into, which seem to take on even more power in a live situation, reflect an artist pushing her voice forward – “I am Matana, I am Matana, I am Matana”, she repeats on the simply titled “I am” – to give voice and empower others. Rarely has experimental music sounded so immediately accessible and innovative. Thankfully, Matana Roberts has more albums in the works. An exhilarating prospect.

On Constellation: Coin Coin Chapter 1: Gens de couleur libres (2011), Coin Coin Chapter 2: Mississippi Moonchile (2013)

Personnel on Coin Coin Chapter 1:

Matana Roberts: reeds/voice ; David Ryshpan: piano/organ ; Nicolas Caloia: cello ; Ellwood Epps: trumpet ; Brian Lipson: bass trumpet ; Fred Bazil: tenor sax ; Jason Sharp: baritone sax ; Hraïr Hratchian: doudouk ; Xarah Dion: prepared guitar ; Marie Davidson: violin ;Josh Zubot: violin ; Lisa Gamble: musical saw ; Thierry Amar: bass ;Jonah Fortune: bass ;David Payant: drums/vibes

Mississippi Moonchile still streams for free here (The Wire magazine) but get the nicely packaged LP if you can.

Also worth checking out: The Chicago Project (Central Control, 2007)