Continuing in the fine tradition
of independently released New York free jazz is this relatively new imprint,
Hopscotch, run out of a shoebox in Brooklyn, much like its spiritual as well
as demographic neighbor, Aum Fidelity. This trio record, which is apparently
only the sixth release on the label, is stirring testament to their apparent
mission, which is to continue to delve into the free-jazz frontier first explored
by the original masters–Coltrane, Cecil Taylor, Ornette Coleman, Sun Ra,
Eric Dolphy, et al. Now, drummer Rashied Ali is no stranger to the actual impetus
of the New Thing, having boarded Coltrane’s spaceship in 1967, when he
helped the Master create perhaps the all-time free-flying duo classic, Interstellar
Space. A few years later, he did a similar act of pure musical devastation
with Frank Lowe (in many ways, along with David S. Ware, Coltrane’s true
heir apparent. What? You thought James Carter?). In the last few years, as a
member of Prima Materia, he’s continued to stretch, flex, pummel and probe
the surface of the free-jazz continuum with intense conviction. Ali has emerged
as some sort of mentor/figurehead to a whole new generation of jazz musicians,
and this record is the living proof of the kind of "workshop" he constantly
upholds.
Speaking of which, this
kid I know who goes to Berklee School of Music, but doesn’t dig it too
much, told me he recently saw Ali in Boston and walked away unimpressed, particularly
with the young sax player whom Ali had dragged along for that outing. Considering
the sax-playing of Assif Tsahar on this record, it seems doubtful that he was
the sax player in question–his playing here is excellent throughout. A
good example is "The Rap," which begins the album with a kind of "Chasin’
the Trane" tempo and features Tsahar running down a plethora of wild but
still tuneful Coltranean whoops and swoops as Ali and bassist Peter Kowald rock
steady underneath. Speaking of Kowald, it should be noted that he likes to do
a lot of arco (read: bowed) stuff on his ax, as in "Isotopes," where
his bass alternately sounds like a violin and a skill saw. In "Deals, Ideas
and Ideals," he does a lengthy excursion that’s mesmerizing in its
successful redefinition of the instrument’s sound by simplistic means (i.e.,
no special effects).
"Freedom Train"
has Ali reclaiming his Interstellar Space roots as his hands roam his
drum kit with passionate abandon and Tsahar once again solos as if receiving
the blessing of the Great God Coltrane Himself. In "Hereafter," Tsahar,
for a brief moment, evokes Roscoe Mitchell’s "Chant" in a series
of circular patterns. That gives way to more rocking bass rumble by Kowald.
"Currents" is
a Sam Rivers/Art Ensemble-style swirl-around with a lot of muted half notes,
random bash ’n’ crash from Ali and still more full-throated vocalizing
from the instrument of Tsahar. This trio is so damn tight on this song and others
that it’s no mere piece of fiction to brand them one of the best combos
working today–the equal to any of the Aum Fidelity crowd. There are moments
in this song that are just overwhelming in their frenetic meter, but it’s
not just wasted notes, it’s intense and believable. It’s fully listenable
as a musical experience as opposed to some kinda academic exercise that, I dunno
about you, but to me, all those Ken Vandermark albums and performances have
the air of. This trio is a natural product of some basic harmony that exists
among these three men.
But there are moments of
disharmony as well, such as "Walking Shadows," the grand finale, which
has enough ghostly moaning and groaning to do ESP-Disk proud. This is vintage
Coltrane Om and it shows once again that these guys are not just studious
practitioners of some sacred art, but jokers like the rest of us. All and all,
the best trio record since Odean Pope’s Ebioto last year.
