Wheeler/Konitz/Frisell/Holland: 'Angel Song' ECM 1607
featuring: Kenny Wheeler: trumpet and flugelhorn, Lee Konitz: alto
saxophone, Bill Frisell: guitar, Dave Holland: double-bass. recorded:
February 1996, N.Y. No doubt about it, this one's a winner through and through. 'Angel
Song' represents the coming together of four exceptional improvisors in a program of
music written by Kenny Wheeler. All major figures on their respective instruments, it's
the first time that these musicians have played together as a quartet. The recording is
classic Wheeler and his refined compositional strengths of buoyant melody and abstract
romanticism are brought well to the fore in this special session.
Impressive, too, how each of these major artists attune themselves so deferentially to
Wheeler's conception. Despite the democratic band-listing, it's the great trumpeter who
subtly calls the shots here, as his beautifully melancholic and airy pieces drift into
focus and quietly suggest to the musicians the methods for thematic development. Perhaps
it was label-boss Manfred Eicher's suggestion to bring these four together, although, in
my view, it seems like the perfectly obvious modern jazz quartet to form.
Behind Lee Konitz' dry romanticism and assured improvising lies an enormous history in
travelling through the tradition. He's the perfect choice for this setting: an out-and-out
modernist who, since his baptism in 'Cool' all those decades ago, has trod a decisively
individual path in Jazz. His incisive alto sax probes the melody, creating exquisite
shades with Wheeler's horns. Together, they establish further contour across the nine
pieces. Dave Holland has enjoyed a long affiliation with Wheeler. He propels the quicker
tunes with graceful restraint (although even here the drummerless quartet retains its
distinctively floating, elastic qualities) and is forever vigilant in providing bass-lines
which both anchor and free the harmonic and rhythmic possibilities of the music.
Throughout, Frisell orchestrates each tune with his inimitable soft-focus chordal
impressionism and occasionally takes the lead with a brooding, hesitant line. Completing
this marvellous group interplay are Wheeler's soaring brass horns, delicate and agile,
governing royally over his exquisite arrangements.
'Angel Song' unfolds as a suite of pieces which really do sound heaven-sent. The
quartet's eloquent achievement stands as a significant example of cohesion and suspension
of ego amongst four major modern players. It's involving, slow-moving and gentle music
which is immediately inviting. Beneath the obvious warmth and quiet intensity lies a
complex series of interweaving voices which trail off out of the written note and into a
wholly organic four-way development through improvisation. Despite its first-time quality,
this a vital new jazz quartet whose fragile music bespeaks a strong and wise heart. One
hopes that this formation keeps together for some time to come. At this point, though, we
have an album which seems destined to simultaneously achieve classic status and broad,
popular appeal. 'Angel Song' bears all the hallmarks of a truly great album.
Distributed by Sonart Music Vision (Sydney) and available through B # Records,
The Muses, The Compact Disc Shop or your local record store.
Reviewed by Matt Krieg
Source: Adelaide Jazz Scene
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This welcome 1979 recording has languished on deleted vinyl for far too long and is
another welcome reissue from ECM, who appear to be working very thoroughly through their
back-catalogue. Wheeler's reputation as a player whose interest's revolve equally around
conventional and avant-garde improvising methodologies is borne out in the pastoral
classicism and piercing abstraction of 'around 6'.
It's a whole-heartedly European sextet, in body and soul, for which Wheeler writes tightly
controlled chamber-jazz themes which foreground his highly expressive trumpet and
flugelhorn, Eje Thelin's trombone and Tom van der Geld's vibraphone. The
absolutely water-tight rhythm section of Edward Vesala on drums and J.F.
Jenny-Clark accompany every turn with grace and fervour. Evan Parker takes top
honours for some rivetting free passages of frenetic saxophonics, particularly his
invigorating soprano squalls in the end section of the opening piece 'Mai We Go Round',
for me, one of the most exciting moments of the entire album and an indication in
miniature of the monstrously talented improvisor's future directions. At the heart of this
music is the gifted Wheeler's melancholy, agile brass horns, bringing to the group a
central plateau for pensive themes, and a springboard for exceptional and angular
improvisations.
It's a winning combination from a united group and a worthy reminder of Kenny Wheeler's
self-effacing and unique contribution to contemporary European Jazz. Available through B#
Records
Reviewed by Matt Krieg
Source: Sept '96 'Jazz Notes'
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