CD Reviews
* Artists = B *

Contemporary jazz reviews

Derek Bailey / Anthony Braxton : "Moment Precieux" Victo CD02

Anthony Braxton : Alto and Soprano Saxophones ; Derek Bailey : Electric Guitar
rec. October 1986 at the 4th Victoriaville Music Festival, Quebec, Canada

This one is a real treat: two giants of improvisation in pursuit of that enigmatic 'something' on a Canadian stage in 1986. Braxton, clearly derived from the jazz tradition; Bailey, restless occupant of a self-constructed world of non-idiomatic guitar. "Moment Precieux" was an instant improv classic upon its release twelve years ago and is a welcome reissue to CD format. Two long improvisations provide an illuminating view of these mercurial musicians. Bailey's spiky tones, chordal shards and strange harmonics are a source of constant wonder as Braxton's acidulous horn careers forth, spinning wildly into liquid motion and timbral extremes. "Spontaneity, attention, urgency", to quote Art Lange's accompanying notes, are the treasures available to us. Emotion and tranquility are also here. Emptying one's mind of preconceived notions of what true creativity should sound like is the key to experiencing the many delights of this great concert in full.

Contact: Productions Plateforme Inc., CP 460, Victoriaville, Quebec, G6P 6T3, Canada

Reviewed by Matt Krieg
Source: Jazz Notes
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Local Releases

Dale Barlow "Playground"
ABC JAZZ/BMG: 563312 6 Total Time: 52:48 Retail Price: $29.95 (Approx)

Dale Barlow emerged in the early 80s as one of the "young lions" of the Sydney jazz scene. After stints in various playing situations both in Australia and overseas Barlow has established himself as one of Australia's leading jazz innovators. "Playground", his latest CD release for ABC Jazz, was recorded in various sessions in June 1995 and August 1996.

It is not very clear from the liner notes exactly who plays on each track, but listed as joining Dale (tenor saxophone) on these dates are Simon Barker (drums), Andrew Gander (drums), Adam Armstrong (bass), Roderick White (piano), James Muller (guitar), Peter Zografakis (guitar) and Fabian Hevia (percussion). Dale and his various sidemen appear more than ready to tackle this new set of Barlow-penned compositions with a minimum of preparation.

The CD commences with the searching, riff-based 'Space Cadet' which is followed by the punchy tune, 'Too Many Spy Movies'. 'Lost City' is a contemporary ballad on which only Dale solos. The Latin-based 'See-Saw' is followed by the more relaxed 'Monkey Bars' featuring some very nice acoustic guitar backing and solo work. The rousing 'Hittin' Myths' precedes the gentler 'Ballad Earth' which again features acoustic guitar. 'Roundabout' is another contemporary ballad with phrased backing. The melodic, Latin-based 'Glasshouse' prepares the listener for the continually changing rhythms of the brief final track, 'Slipprydip'.

Dale seems to have entered a mellower phase with this recording, sounding reminiscent, at times, of the explorations of Stan Getz during the early 80s. This is an excellent recording which will help consolidate Dale's position as one of Australia's leading saxophonists, composers and innovators. Available from all good CD stores. Buy it, you won't be disappointed!

Reviewed by: Greg Fisher
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Joey Baron: "Raised Pleasure Dot" New World CD 80449-2

'Barondown': Ellery Eskelin: Tenor Sax ; Steve Swell: Trombone ; Joey Baron: Drums
rec. February 22/23 1993, NYC

There's no bass, piano or guitar here, but don't worry 'bout a thing because drummer Joey Baron has got it all down. His trio is called Barondown and this new release is sure to raise eyebrows and a few goosebumps along the way. With no harmonic anchor, these guys blow hard and sparse on a bewildering variety of mostly original tunes that will draw you into some deep bodily grooves and a heady dose of cerebral travel. Barondown is a band that sounds different: minimal, abstract, lyrical and constantly balanced and leavened by a hearty sense of humour. Baron is one of the most interesting drummers working today and regularly plays with two of the great iconoclasts in new music: Bill Frisell and John Zorn. His drumming is completely musical - he's capable of pulling anything out of the bag, from broken arhythmic riffs to false-start marching band stomps. He's full of surprises and teriffically resourceful. Ellery Eskelin's throaty tenor rips and snorts through the program and Steve Swell's trombone has a swaggering versatility that boosts the trio's gripping sound into a unique place in the jazz world. These musicians have fun and you will too. Try out a new zone of jazz entertainment. "Raised Pleasure Dot" is worth a spin in your music box.

Contact: New World Records, 701 Seventh Ave. New York, NY 10036, USA or try Birdland,
3 Barrack Street, Sydney, NSW, 2000

Reviewed by Matt Krieg
Source: Jazz Notes
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Bjornstad / Darling / Christensen / Rypdal : "The Sea II" ECM 1633

Ketil Bjornstad: Piano ; David Darling: Cello ; Jon Christensen: Drums ; Terje Rypdal: Guitars

rec. December 1996, Oslo

The classically trained Bjornstad pulls in the big guns from ECM and records a wonderful new album of crystalline music that is gentle, evocative and also containing moments of barely restrained fury. He continues the watery theme traced through his previous recordings for the label, rekindling the quartet from the earlier 'The Sea' session from several years ago. Darling, Rypdal and Christensen are all old ECM stalwarts from way back, well acquainted and well-versed in the subdued and responsive interplay of a session of this kind: deceptively simple melodies and harmonic movements that provide a broad canvas on which to paint. And the results are both beautiful and convincing. The quartet works as a single entity, Darling's achingly beautiful cello blending seamlessly with Rypdal's

guitar cries as they follow the ever-engaging rhythmic map of Christensen. Bjornstad's piano plays a muted role but provides much of the necessary steerage for the improvisers, claiming the direction and flow for nine of the ten pieces herein. "Consequences", the only piece not penned by the pianist, is a group improvisation of rippling intensity, long-held arcs which brood lingeringly. This piece is indicative of the latent forces within the quartet, powerfully present but delicately restrained. Impressionistic music of this calibre is atmospherically evocative and fans of the genre and of the fabled "ECM sound" ( a moniker which seems to me both a boon and a bane to the label ) will surely want to have this lovely music wash over the senses. There is one piece, "The Mother" which seems to carry the hope and melancholy of the human heart with such clarity and grace that it takes the breath away. Elsewhere, Rypdal squeezes the ache from his muse and brings several sections of the music to a penetrating intensity of volume and expression. But a gentle spirit pervades even these brief interludes. The quartet's leader knows where this music should travel. As if standing quietly on the rocks, the beacon of Bjornstad's simple piano beams a brief but consistent light across the liquid earth, the calm and fury of the sea.

Australian Distributor: Sonart Music, order through your local CD shop.

Reviewed by Matt Krieg
Source: Jazz Notes
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Imports

Reviewed by
Greg Fisher

As a footnote - It now seems very likely that Michiel Borstlap will be in Australia this year (1999) appearing as part of the Bennink-Borstlap-Glerum trio at the "Wangarratta Festival of Jazz and Blues". He has also been signed by Verve and will have a new recording coming out later this year.

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Reviewed by Greg Fisher
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Braxton's musical universe looms large in the late twentieth century. Innovative multi-instrumentalist and far-reaching composer of orchestral works and small- and large-group pieces, his unapologetic embracement of avant-gardists like Schoenberg and Stockhausen has not always sat well with some critics and listeners. Yet, in spite of the jazz world's ambivalence towards Braxton, he remains one of the most recorded musicians in the idiom and perhaps the most extensively documented contemporary improviser. Georg Grawe is an enterprising pianist and composer in his own right who also boldly treads his own path in free improvisation and modern composition. He's the label-boss of his own 'Random Acoustics' imprint as well. These two musicians met together on-stage in 1991 at Amsterdam's annual new-music event, the October Meeting, a common point of contact for contemporary improvisers normally separated by the vast stretches of water across the Atlantic.

Both musicians fiercely stamp their personalities all over the three pieces played to the small, but rapt, audience. Braxton is in a class all of his own making when, after a few tentative phrases, he launches into a volcanic outpouring of fury, his clarinet sounding like the modern instrument.

His sputtering muse leaps wildly across the horn, and you know it's on. Grawe is undaunted by Braxton's needle-point focus and provides his own razor-sharp counterpoint. The pianist avoids the Cecil Taylorisms that so many other players might resort to. Instead, he helps propel the music into several simultaneous tangents by opening up the spaces and letting the music breathe. Grawe's musical intelligence is brilliant. The two players reach a magical parallel statement towards the close of the long opening duet, and it's Braxton who responds to Grawe's ringing staccato in the high registers, his clarinet playing across the delightful arpeggiated melody with great warmth. There is also plenty of Braxton's alto sax and flute heard throughout the three concert pieces and he moves freely from one to the other. Grawe's solo piano can be heard in several places as a bridge between the more heated duo exchanges. His playing is a model of economy and empathy. And Braxton?

Still totally original, acerbic, engaging in the relentless pursuit of that highest moment and sounding positively enlightened along the way. This is one duo that improvises its' way into recording history with confidence, humanity and a sense of the sheer pleasure of making music together.

Reviewed by Matt Krieg
Source: Jazz Notes
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Imports

Reviewed by Kami
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Michael Brecker appears to have lost interest in rock or funk rhythms for the moment and is currently exploring the limits of contemporary modern jazz. To assist him in these "Tales from the Hudson", he has assembled an extremely accomplished group of musicians to tackle 9 first-rate contemporary jazz tunes, most of which are written, or co-written, by himself.

The line-up consists of Michael on tenor, Pat Metheny - guitar and guitar synthesiser, Dave Holland on bass, Jack DeJohnette on drums, and Joey Calderazzo on piano. On 2 tracks, "Song for Bilbao" and "African Skies", McCoy Tyner takes over the piano and Don Alias is added on percussion. What can you say about a line-up like that? Most of them are capable leaders in their own right and all contribute fully to every tune on this recording. Metheny's playing is superb both on guitar and synth, Holland is solid and dependable, DeJohnette plays with total independence, seeming able to simultaneously hold the time and comment, Calderazzo solos and accompanies well, Brecker is in total command of his instrument and the music. On the tracks with McCoy the group seems lifted to even greater heights of creativity and Don Alias contributes effectively to the ensemble's sound.

Tracks on this CD are: 1) "Slings and Arrows" - a very uptempo, modern, swing tune by Michael 2) "Midnight Voyage" - an 'in-the-groove' swing composition by Joey Calderazzo 3) "Song for Bilbao" - A Metheny tune featuring McCoy on piano and Pat on synthesiser 4) "Beau Rivage" - a contemporary ballad by Brecker 5) "African Skies" - Brecker's own Coltrane-like Afro-Cuban 6/8 number featuring McCoy's trademark chord voicings in 4ths 6) "Intro to Naked Soul" - a short duet featuring Brecker and Holland 7) "Naked Soul" - a very 'bluesy' tune by Michael 8) "Willie T" - a moody, yet punchy, swing piece composed by Don Grolnick 9) "Cabin Fever".- another uptempo number by Brecker which burns from the first bar to the last

The cover to this CD, which depicts Michael walking along the bank of the Hudson River, seems bleak and cold, however the music contained within is anything but. This is a recording of first rate players playing some excellent compositions with spirit and fire. It would get my vote for jazz recording of the year. Available from B# records and John Davis.


Reviewed by Greg Fisher
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Peter Brotzmann is largely recognised as the godfather of European high-energy Free Jazz. He's been the loudest, fiercest exponent of the saxophone's sonic extremes for some thirty-odd years now. While he was establishing this mode of expression in the mid 60's, Albert Ayler was carrying out similar experiments at the same time on the other side of the Atlantic. Brotzmann soon found an audience for his music, even as the Ecstatic American Music of Ayler struggled for acceptance. The spiritual honesty and unrestrained passion of Ayler's music was too much for the American audience and it wasn't until he played in Europe that the people took this yearning, searching musician into their hearts. His suicide in New York in 1970 cut short the life of a gospel-singing revolutionary.

Brotzmann, though, is still with us and his brawling, frenzied improvising style shows no sign of letting up. "Die Like A Dog" is Brotzmann's tribute to Albert Ayler. Subtitled "Fragments of music, life and death of Albert Ayler", Brotzmann celebrates the great musician's existence in a coherent, yet wildly intense and devotional concert that burns throughout without ever losing its' strong sense of direction. Brotzmann is the helmsman who steers the quartet through brief Ayler-theme quotes and on into powerful free improvisation. Toshinori Kondo plays as though possessed, conjuring some marvellous electronic distortions which lift off into the stratosphere. Jazz trumpet never sounded like this before ( even mid-seventies era Miles would have been impressed ). Kondo is the perfect foil for the visceral Brotzmann horn, consistently surprising and unflagging in his pursuit of Ayler's spirit.

William Parker is steeped in the wisdom of free music, the perfect choice for bass, while Hamid Drake drives everything with precision and a propulsive rhythmic kick. The horn men stir up a glorious storm and the concert is a wonderful tribute, from the opening moments through to the final embers. We can be glad that Ayler's legacy has invoked a resonance which can still exist in contemporary music. With Brotzmann's latest offering, the flame burns undimm'd.

Australian distributor: BIRDLAND, 3 Barrack Street, Sydney, NSW, 2000.

Peter Brotzmann has been an incredibly sustaining and constant force in free music for over three decades, and continues to create white-hot improvisation on saxophone and clarinet at torrentially fervid intensity. He's a musician who has pushed himself to the point of combustion at every gig - he reaches into the core of molten sound and then further, deeper in. The Marz Combo assembled in early '92 to celebrate Brotzmann's fiftieth birthday and his exceptional life in music. Featuring some great improvisation stalwarts such as Paul Rutherford and younger players like Nicky Skopelitis, the Tentet rants and howls its way like a band of pilgrims on the road to a destination of its own design. As you'd expect with a large ensemble of this freewheeling kind, there are a few collisions and pile-ups along the way. William Parker's bass sets the combo out on its journey on the three sections which build up to a raging intensity. At the centre of the fireball stands Brotzmann, burning unholy and bright. It's another cathartic blowout from the Colossus of Wuppertal.....Fantastic.

Australian distributor: BIRDLAND, 3 Barrack Street, Sydney, NSW, 2000.