John Abercrombie Trio: "Speak Of The Devil" ECM1517
John Abercrombie: Guitar ; Dan Wall: Hammond B-3 Organ ; Adam Nussbaum: Drums
rec. July 1993, Oslo, Norway
With his new organ trio, John Abercrombie moves away from the more delicate, abstracted interplay of his previous trio with Marc Johnson and Peter Erskine. This time he establishes a visceral sense of power on "Speak Of The Devil", taking a physical approach on most of the album's tunes, thanks to Adam Nussbaum's pumped-up drumming and the surging power of Dan Wall's B3. Abercrombie's guitar playing hearkens back to his wilder days, stretching out particularly on the nasty "Hell's Gate" which closes the album with some aggressive jazz-rock. Elsewhere the guitarist explores some ballad-like areas, with notable sensitivity on "Chorale" and "Farewell". Abercrombie and Wall each contribute three compostions. Nussbaum's "BT-U" is a scorcher and two great trio improvisations (one an inspired rubato ballad and the other a neo-Indian gallop) complete another solidly inventive offering from one of the great guitarists of the modern day. Whether they're engaging in hot blowing interchanges or exploring the contours of quieter melodies, the new organ trio rocks and swings. John Abercrombie: a model of consistency.
Australian Distributor: Sonart Music, order through your local CD shop
Reviewed by Matt Krieg
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AMM: "To Hear And Back Again" Matchless MRCD03
Lou Gare: Tenor Saxophone ; Eddie Prevost: Drums rec. June 1973-April 1975
AMM's history is a good deal longer than most musical co-operatives, in or out of the jazz field. Since the mid-Sixties, this group of English musicians has been exploring and engaging in a collective improvisation that remains new and revelatory, unflinching from its original ideals of non-heirarchical ensemble improvisation. AMM's spontaneous brave-new-worlds of sound and event have always occupied a place beyond jazz, and any other genre for that matter. Eddie Prevost, undoubtedly one of the most endlessly resourceful and expressive of drummers, has been the one constant in a group that has seen members arrive, take their leave, and return to form duos, trios and larger ensembles.
It is here, in this pared-down incarnation of AMM that the individual contributions of Gare and Prevost come into high relief. The result is an intense musical dialogue, more jazz-like in its sound than any other version of the group. Unlike other AMM improvisations, the sound sources are identifiable and the absence of guitarist Keith Rowe's resounding sonic cushion makes this duo the most naked version of AMM. Apart from the previously unissued "Kunstmusik", from a 1973 Berlin concert where little instruments and percussion merge to form a shifting bed of percussive motion, the improvisations revolve around Gare's gently ambling, than ferociously squalling tenor and the crisp, ever-responsive drumming of Prevost. "To Hear And Back Again" reveals a partnership that maintained a melodic lyricism and arhythmic propulsion with neither musician dragging the other along in his wake. The long pieces ( 20+ minutes ) offer the big-picture view of AMM music: Prevost's inventive percussion providing a shifting landscape of forward movement while Gare's saxophone builds another dimension of melody. Together the two create a spontaneous topography of sound that remains vital after twenty-so years. AMM music is a world unto itself, and important listening, whatever the incarnation. For the jazz-oriented listener, this is an engaging place to start.
Australian Distributor: Synaesthesia PO Box 7252, Melbourne, Victoria, 3004
email: [email protected]
Reviewed by Matt Krieg
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Fred Anderson / DKV Trio OKKA disk OD12014
Fred Anderson: tenor saxophone, Hamid Drake: drums, Kent Kessler: double bass, Ken Vandermark: tenor saxophone, bass clarinet recorded: Dec. 3, 1996, Chicago
Chicago: city of creative musicians. Fred Anderson: venerable free-jazz sax player and owner of fabled club 'The Velvet Lounge'. DKV Trio: younger ( but very experienced ) local musicians burning to play the living music, unadulterated and passionate free jazz. All the ingredients are in place for one teriffic session and, true to form, all the players cook along with joyful vigour. Interesting how, despite the two-horn lineup, the music played is full of open spaces. No jostling for position here, it's a fair and four-square session where everyone gives and gets plenty of room to move. All compositions are written by Anderson and often retain that sixties free-jazz sound : a tumbling melodic theme followed by rambling, rough-house improvisation. Anderson sounds on good form, wringing harmonically complex lines from his tenor, his large tone and steady negotiation with the rhythm section a testament to his seniority and status. Vandermark, on the other hand, while clearly holding his sparring partner in high esteem, launches into white-hot expressions, seeking out the extremes of timbre and pitch and arriving at equally effective statements, a perfect foil to Anderson's horn. This album also contains a good deal of unison passages and close-written harmonies which allow the two tenors to converge into slow-paced, bluesy song. It's not all full speed ahead. In fact the album is rounded out nicely with two long, slow closing numbers which reveal the players in a more laconic mode with excellent interplay from Drake's drums and Kessler's arco bass. It's a solid outing which says a lot about the health of Chicago's creative jazz scene. Check out these masters young and old.
available from OKKA disk PO Box 146472 Chicago. Illinois 60614-6472 www.okkadisk.com
Reviewed by Matt Krieg
Source: Jazz Notes
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Azimuth :
'Azimuth/The Touchstone/Depart' ECM 1546-48
'How It Was Then...Never Again' ECM 1538
There are few, if any other, vocal/piano/trumpet trios as inventive and long-standing as the British group Azimuth. It's been ten years since their last album and 1995 saw a very welcome return for the unit, with a new recording 'How It Was...' and a special 3 CD reissue of their first three ECM recordings made between 1977 and 1981 - 'Azimuth/The Touchstone/Depart'.
At the band's inception, pianist John Taylor and vocalist Norma Winstone established a duo which was later augmented by trumpeter Kenny Wheeler. Azimuth was born and a particularly fresh blend of 'minimal-jazz' was created. The 3CD reissue set comes highly recommended and provides an expansive view of the trio's early activities. Interestingly, the sound has not dated, despite the use of early synthesiser pulse patterns on several tracks. It's the trio's 1thoughtful and often surprising interactions and agreements which strike the ear as still-new for present times. There are moments where Wheeler's and Winstone's rapport is quite astonishing. Taylor's graceful and unashamedly Evans-inspired piano provides a mesmerising platform for spontaneous explorations. Pastoral, spatial and a guest appearance by guitarist Ralph Towner on 'Depart'.
The new recording updates the trio's sound with their first recorded blues, a 'train blues' on the title track, which opens the album. Untypical territory, but typical of Azimuth's adventurous spirit. You'll also find a remarkable multi-tracked reinvention of Irving Berlin's 'How Deep Is The Ocean' by Kenny Wheeler. Winstone's contributions to the music continually stand out, understated and yet powerfully direct. Azimuth remains an undiminished force in British Jazz and are well worth seeking out.
CONTACT: SONART MECA (exclusive distributor) or order through B# RECORDS.
Reviewed by Matt Krieg
Source: Jazz Notes
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