This is the latest
release from what has become something of a free-jazz supergroup, with Evan
Parker (tenor saxophone) joined by John Edwards (bass), Steve Beresford
(piano), and Louis Moholo-Moholo (drums), as well as a guest appearance by the
great Kenny Wheeler on trumpet and flugelhorn. With such a stellar lineup, could anything whatsoever go
wrong? Well, no. In fact: this is close to as good as it
gets in free improvisation. All
fans of the genre should have this recording. Period.
The first four
musicians have worked together in a quartet formation on two previous releases:
Foxes Fox and Naan Tso (the former released on Emanem in 1999, and the latter on
Psi in 2004). The kind of mutual
understanding and empathy these prior encounters have brought about are
definitely evident here, as the players respond attentively and adroitly to
each other’s contributions. This
is truly a collective undertaking, even if these guys lack nothing by way of
well-established individual identities.
Parker is his usual brilliant self, whether offering fluttering cascades of notes or more pensive statements. Beresford is simply outstanding, with an abundance of ideas: using Taylor-esque flurries or huge percussive attacks, his playing here is a continual marvel. Edwards’ contributions on bass are no less superb, employing a great range of textures and techniques (enhanced by his use of amplification, which lends a palpable physicality to the sound of his bass that is really compelling). And finally, Louis Moholo-Moholo is a terrific anchor to this group, as his steady rhythmic pulse and subtle touch support the others and fuel their incessant explorations.
But this is undeniably an instance where the whole is greater than the sum of its parts, as all four musicians build on each other’s ideas consistently and brilliantly throughout the recording. The 39-minute opening track is a sensational model of group interplay at its finest, with no one individual dominating the proceedings; each is able to generate ideas that are then utilized by the others. The group does a particularly noteworthy job of developing the ebb and flow of the music, as more intense passages are built up and sustained, then gradually de-pressurized as new ideas are allowed to percolate and simmer, only to then be brought back up to a frenzied roar.
Parker is his usual brilliant self, whether offering fluttering cascades of notes or more pensive statements. Beresford is simply outstanding, with an abundance of ideas: using Taylor-esque flurries or huge percussive attacks, his playing here is a continual marvel. Edwards’ contributions on bass are no less superb, employing a great range of textures and techniques (enhanced by his use of amplification, which lends a palpable physicality to the sound of his bass that is really compelling). And finally, Louis Moholo-Moholo is a terrific anchor to this group, as his steady rhythmic pulse and subtle touch support the others and fuel their incessant explorations.
But this is undeniably an instance where the whole is greater than the sum of its parts, as all four musicians build on each other’s ideas consistently and brilliantly throughout the recording. The 39-minute opening track is a sensational model of group interplay at its finest, with no one individual dominating the proceedings; each is able to generate ideas that are then utilized by the others. The group does a particularly noteworthy job of developing the ebb and flow of the music, as more intense passages are built up and sustained, then gradually de-pressurized as new ideas are allowed to percolate and simmer, only to then be brought back up to a frenzied roar.
And after the first
track is over, and the listener is catching his or her breath, we get to hear
the addition of Kenny Wheeler on the last two tracks. Wheeler’s presence here is wonderful in
bringing a lyrical dimension to the performance, as one would expect. Which is not to say that Wheeler is
unable to bring the goods when it comes to energy and power: particularly on
the second track, Wheeler is able to match Parker’s intense barrages of notes
quite convincingly, as the two spar with each other during some remarkably energetic
dialogue. But there’s no question
that Wheeler helps Parker explore the subtler, more melodic side of his
playing, and there are a number of moments of sublime beauty on the last two
tracks as a result.
It’s also worth
noting that the music here is very well-recorded; it’s a live recording (from
2007), but the crowd at the Vortex has been taken out of the mix, making it feel
almost like a studio album. This
is pivotal in allowing us to appreciate fully the distinctive contributions of
each musician to the work as a whole.
Available from Instantjazz
© stef
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