Reut Regev

This is R*Time
Ropeadope No #

Jeff Albert Quartet

Similar in the Opposite Way

Fora Sound FORA 08-01

Gypsy Schaeffer

New Album

Peace Time Records PTR 1003

Brassy, sassy and worth heralding, these CDs feature three trombonists celebrating their bona fides while working out individual paths for themselves. Interesting, all three are somewhat beholden to the super-speedy rhythmic crunches that contemporary players have internalized from rock music.

As a point of demarcation however, with their instrumentation of trombone, saxophone, bass and drums, both the New Orleans combo of Jeff Albert, and the Boston-based Gypsy Schaeffer quartet, which prominently features slide-specialist Joel Yennior, extend the FreeBop focus pioneered by the New York Art Quartet (NYAQ) in the 1960s. Israeli-born, but a New York resident, trombone and flugabone player Reut Regev alters the arrangement by cleaving closer to Latin beats, On This is R*Time she substitutes David Phelps’ flanged and distorted guitar styling for the saxes present on the other CDs and adds conga and bongo frailer Eddie Bobé to two tracks.

Regev, whose experience encompasses Latin band work as well as membership in Anthony Braxton’s 12+1tet, composed the majority of the tunes here as well as collaborating on a couple with percussionist Igal Foni. Distinguishing strategy throughout is the contrast of her super-clean articulation with Phelps’ echoing fuzz-tone lines and vamps – while Foni concentrates on the backbeat.

On a tune like “Some of the Best Fish Are Alive”, where Regev also plays congas, she extends the Latin-rock groove with trombone triple tonguing and a series of plump, chromatic whole notes. Loosening his distant string-flailing, the guitarist aims for synthesized wiggles and Space Rock homage, as bassist Brad Jones holds down the middle. Climax is reached by intertwining Regev’s mid-range tremolo plus clanking and clipped rhythm patterns.

“Balibalaila” is more diffuse. Sitar-like shimmers from Phelps and walking bass strokes give way to the trombonist alternately pumping lyrical or linear tones on top of a massed percussion attack – including Bobé’s congas. As her horn’s timbres fades into echoing growls, it appears as if Regev is abutting bossa nova lines while the others stick to Latin-Rock.

“Nutcase Scenario”, written by Foni, is the most complete essay in trombone and guitar interaction – although this time it evolves over repeated twangs from Jones’ electric bass. The slashing staccato guitar vamps come up against chugging grace note extensions and subtle growling from Regev. Opened up for a drum solo enlivened by cross sticking and nerve beats, the stop-and-go composition marches to the finish line with brass plunger textures and sliced off guitar chords.

Moving down south from Ninth Avenue to the Ninth Ward, Jeff Albert’s trick bag opens up wide enough to expose a series of the trombonist’s quirkily titled compositions. Most are performed with a sort of jerky and jokey unison between Albert’s trombone double-tonguing and slurs and Ray Moore’s slithery and slippery alto saxophone timbres. Albert’s low blats usually limn the melody while Moore’s sharp trills decorate them – or the process is reversed. Bassist Tommy Sciple walks convincingly, while drummer Dave Cappello’s breaks sometime function as a third lead voice.

Albert, who has backed Crescent City R&B journeymen such as George Porter and Deacon John, is also linked to the newest generation of Windy City improvisers, with his post-Hurricane Katrina-organized Lucky7s band, co-lead by fellow vale-pumper Jeb Bishop and otherwise staffed by Chicagoans.

Here, a piece like “Bag Full of Poboys” is the most New Orleans-like in its grooves, with an in-the-pocket beat and the trombonist and altoist involved in searing double counterpoint. Staying down-and-dirty at the same time as it progresses, the piece allows Albert to let loose with brays, slurs and purrs, while just before Moore fractures the theme with altissimo runs, Cappello’s cymbal action and drags confirm the rhythm.

Not every tune is andante and staccato, however. “Subtle Flower”, for instance, is an intricate ballad. Slowly fertilizing the bloom, the two horn men’s timbres often intertwine, although each is playing a different melody. Moore moves from mid-range to whistling chirps that ascend to higher pitches, while Albert blows blurry, buzzy modulations.

Sometimes the piece takes on a vaguely oriental feel as with “Rookie Cyclist”. Steadily pumped and goosed by Cappello’s ruffs and bumps, the theme gives Albert a chance to showcase a wide-ranging collection of grace notes à la Roswell Rudd, and reed-biting Moore the place to assay rough Archie Shepp-like runs.

Referencing the piano-less NYAQ, as well as similarly constituted earlier quartets such as Ornette Coleman’s in the late 1950s and Gerry Mulligan’s earlier in that decade; Gypsy Schaeffer’s game plan is tight and swinging. That’s not surprising since the group, which has been a working unit since 2003, is made up of Beantown regulars who played together in various combinations over the years. Trombonist Yennior is also a member of the mercurial Either/Orchestra, but roles are shared cooperatively. As is the writing: three of the 13 tunes are by saxophonist Andy Voelker, two by bassist Jeff Charland, and the rest group composition/improvisations.

The majority of the compositions have a definite traditional structure. Voelker’s “New Egypt”, for instance, features his Marion Brown-like alto sax line stating the head on top of Charland’s waking bass line, and then Voelker’s variations are seconded by rumbles from drummer Chris Punis. Yennior’s downward slurs recap the head, which appears a third time as an extro, taken one-third more leisurely than it was at the top. Throughout the disc, the four also confirm that, like the Count Basie band, they can maintain a swinging pace even at slow tempos.

Yennior’s pitch vocalization is featured on “Identity Crisis”, with simian sounds prominent as well. Final variations mate ratamacues and rim shots from Punis, rubato slurs from the trombonist and flutter-tongued alto trills. “Exuberant Irrationalism” on the other hand is pulled along on cymbal chings and a walking bass line, while the horns’ scalar runs expand into jumps and pumps.

Charland’s unvarying bass stops also formalize the connections between the Coleman and Mulligan quartet approaches on Voelker’s “Shark Tank”. After strident unison reed-and-brass sequences give way to a drum solo, the subsequent trading of fours makes the group sound much larger. Utilizing stop-time, the finale is simultaneously fanciful and harmonized.

In truth, none of the trombonists have redefines improvised the music in any way. But all have created pleasurable sessions which expand the definition of mainstream. Each CD suggests further impressive surprises can be expected from all the bands.

-- Ken Waxman

Track Listing: Time 1. Swill^ 2. Hula Hula* 3. Nutcase Scenario&^ 4. Bailbaila*+ 5. Some of the Best Fish Are Alive%* 6. Paradise%*# 7. Elephant Steps&^ 8. Clean Dirt* 9. True Story^

Personnel: Time: Reut Regev (trombone, flugabone& and congas%); David Phelps (guitars); Brad Jones (bass* and electric bass^); Igal Foni (drums and percussion) and Eddie Bobé (congas+ and bongos#)

Track Listing: Similar: 1. Similar in the Opposite Way 2. I Was Just Looking For My Pants 3. 9th Ward Trotsky 4. Subtle Flower 5. Chalk & Chocolate 6. Bag Full of Poboys 7. (Could Have Been a) Napkin 8. Folk Song 9. Morph My Cheese 10. Rookie Cyclist

Personnel: Similar: Jeff Albert (trombone); Ray Moore (alto saxophone); Tommy Sciple (bass) and Dave Cappello (drums)

Track Listing: Album: 1. New Egypt 2. Live a Little 3. Black Friday 4. Standard Candles 5. Grape Soda and Pretzels 6. The Greater Good 7. Welcome Edison 8. Double Quartet 9. Shark Tank 10. Exuberant Irrationalism 11. Ground Swell 12. Call to Arms 13. Identity Crisis

Personnel: Album: Joel Yennior (trombone); Andy Voelker (alto, tenor and soprano saxophones); Jeff Charland (bass) and Chris Punis (drums)

June 23, 2009

Jeff Albert Quartet

Similar in the Opposite Way
Fora Sound FORA 08-01

Reut Regev

This is R*Time

Ropeadope No #

Gypsy Schaeffer

New Album

Peace Time Records PTR 1003

Brassy, sassy and worth heralding, these CDs feature three trombonists celebrating their bona fides while working out individual paths for themselves. Interesting, all three are somewhat beholden to the super-speedy rhythmic crunches that contemporary players have internalized from rock music.

As a point of demarcation however, with their instrumentation of trombone, saxophone, bass and drums, both the New Orleans combo of Jeff Albert, and the Boston-based Gypsy Schaeffer quartet, which prominently features slide-specialist Joel Yennior, extend the FreeBop focus pioneered by the New York Art Quartet (NYAQ) in the 1960s. Israeli-born, but a New York resident, trombone and flugabone player Reut Regev alters the arrangement by cleaving closer to Latin beats, On This is R*Time she substitutes David Phelps’ flanged and distorted guitar styling for the saxes present on the other CDs and adds conga and bongo frailer Eddie Bobé to two tracks.

Regev, whose experience encompasses Latin band work as well as membership in Anthony Braxton’s 12+1tet, composed the majority of the tunes here as well as collaborating on a couple with percussionist Igal Foni. Distinguishing strategy throughout is the contrast of her super-clean articulation with Phelps’ echoing fuzz-tone lines and vamps – while Foni concentrates on the backbeat.

On a tune like “Some of the Best Fish Are Alive”, where Regev also plays congas, she extends the Latin-rock groove with trombone triple tonguing and a series of plump, chromatic whole notes. Loosening his distant string-flailing, the guitarist aims for synthesized wiggles and Space Rock homage, as bassist Brad Jones holds down the middle. Climax is reached by intertwining Regev’s mid-range tremolo plus clanking and clipped rhythm patterns.

“Balibalaila” is more diffuse. Sitar-like shimmers from Phelps and walking bass strokes give way to the trombonist alternately pumping lyrical or linear tones on top of a massed percussion attack – including Bobé’s congas. As her horn’s timbres fades into echoing growls, it appears as if Regev is abutting bossa nova lines while the others stick to Latin-Rock.

“Nutcase Scenario”, written by Foni, is the most complete essay in trombone and guitar interaction – although this time it evolves over repeated twangs from Jones’ electric bass. The slashing staccato guitar vamps come up against chugging grace note extensions and subtle growling from Regev. Opened up for a drum solo enlivened by cross sticking and nerve beats, the stop-and-go composition marches to the finish line with brass plunger textures and sliced off guitar chords.

Moving down south from Ninth Avenue to the Ninth Ward, Jeff Albert’s trick bag opens up wide enough to expose a series of the trombonist’s quirkily titled compositions. Most are performed with a sort of jerky and jokey unison between Albert’s trombone double-tonguing and slurs and Ray Moore’s slithery and slippery alto saxophone timbres. Albert’s low blats usually limn the melody while Moore’s sharp trills decorate them – or the process is reversed. Bassist Tommy Sciple walks convincingly, while drummer Dave Cappello’s breaks sometime function as a third lead voice.

Albert, who has backed Crescent City R&B journeymen such as George Porter and Deacon John, is also linked to the newest generation of Windy City improvisers, with his post-Hurricane Katrina-organized Lucky7s band, co-lead by fellow vale-pumper Jeb Bishop and otherwise staffed by Chicagoans.

Here, a piece like “Bag Full of Poboys” is the most New Orleans-like in its grooves, with an in-the-pocket beat and the trombonist and altoist involved in searing double counterpoint. Staying down-and-dirty at the same time as it progresses, the piece allows Albert to let loose with brays, slurs and purrs, while just before Moore fractures the theme with altissimo runs, Cappello’s cymbal action and drags confirm the rhythm.

Not every tune is andante and staccato, however. “Subtle Flower”, for instance, is an intricate ballad. Slowly fertilizing the bloom, the two horn men’s timbres often intertwine, although each is playing a different melody. Moore moves from mid-range to whistling chirps that ascend to higher pitches, while Albert blows blurry, buzzy modulations.

Sometimes the piece takes on a vaguely oriental feel as with “Rookie Cyclist”. Steadily pumped and goosed by Cappello’s ruffs and bumps, the theme gives Albert a chance to showcase a wide-ranging collection of grace notes à la Roswell Rudd, and reed-biting Moore the place to assay rough Archie Shepp-like runs.

Referencing the piano-less NYAQ, as well as similarly constituted earlier quartets such as Ornette Coleman’s in the late 1950s and Gerry Mulligan’s earlier in that decade; Gypsy Schaeffer’s game plan is tight and swinging. That’s not surprising since the group, which has been a working unit since 2003, is made up of Beantown regulars who played together in various combinations over the years. Trombonist Yennior is also a member of the mercurial Either/Orchestra, but roles are shared cooperatively. As is the writing: three of the 13 tunes are by saxophonist Andy Voelker, two by bassist Jeff Charland, and the rest group composition/improvisations.

The majority of the compositions have a definite traditional structure. Voelker’s “New Egypt”, for instance, features his Marion Brown-like alto sax line stating the head on top of Charland’s waking bass line, and then Voelker’s variations are seconded by rumbles from drummer Chris Punis. Yennior’s downward slurs recap the head, which appears a third time as an extro, taken one-third more leisurely than it was at the top. Throughout the disc, the four also confirm that, like the Count Basie band, they can maintain a swinging pace even at slow tempos.

Yennior’s pitch vocalization is featured on “Identity Crisis”, with simian sounds prominent as well. Final variations mate ratamacues and rim shots from Punis, rubato slurs from the trombonist and flutter-tongued alto trills. “Exuberant Irrationalism” on the other hand is pulled along on cymbal chings and a walking bass line, while the horns’ scalar runs expand into jumps and pumps.

Charland’s unvarying bass stops also formalize the connections between the Coleman and Mulligan quartet approaches on Voelker’s “Shark Tank”. After strident unison reed-and-brass sequences give way to a drum solo, the subsequent trading of fours makes the group sound much larger. Utilizing stop-time, the finale is simultaneously fanciful and harmonized.

In truth, none of the trombonists have redefines improvised the music in any way. But all have created pleasurable sessions which expand the definition of mainstream. Each CD suggests further impressive surprises can be expected from all the bands.

-- Ken Waxman

Track Listing: Time 1. Swill^ 2. Hula Hula* 3. Nutcase Scenario&^ 4. Bailbaila*+ 5. Some of the Best Fish Are Alive%* 6. Paradise%*# 7. Elephant Steps&^ 8. Clean Dirt* 9. True Story^

Personnel: Time: Reut Regev (trombone, flugabone& and congas%); David Phelps (guitars); Brad Jones (bass* and electric bass^); Igal Foni (drums and percussion) and Eddie Bobé (congas+ and bongos#)

Track Listing: Similar: 1. Similar in the Opposite Way 2. I Was Just Looking For My Pants 3. 9th Ward Trotsky 4. Subtle Flower 5. Chalk & Chocolate 6. Bag Full of Poboys 7. (Could Have Been a) Napkin 8. Folk Song 9. Morph My Cheese 10. Rookie Cyclist

Personnel: Similar: Jeff Albert (trombone); Ray Moore (alto saxophone); Tommy Sciple (bass) and Dave Cappello (drums)

Track Listing: Album: 1. New Egypt 2. Live a Little 3. Black Friday 4. Standard Candles 5. Grape Soda and Pretzels 6. The Greater Good 7. Welcome Edison 8. Double Quartet 9. Shark Tank 10. Exuberant Irrationalism 11. Ground Swell 12. Call to Arms 13. Identity Crisis

Personnel: Album: Joel Yennior (trombone); Andy Voelker (alto, tenor and soprano saxophones); Jeff Charland (bass) and Chris Punis (drums)

June 23, 2009

Gypsy Schaeffer

New Album
Peace Time Records PTR 1003

Reut Regev

This is R*Time

Ropeadope No #

Jeff Albert Quartet

Similar in the Opposite Way

Fora Sound FORA 08-01

Brassy, sassy and worth heralding, these CDs feature three trombonists celebrating their bona fides while working out individual paths for themselves. Interesting, all three are somewhat beholden to the super-speedy rhythmic crunches that contemporary players have internalized from rock music.

As a point of demarcation however, with their instrumentation of trombone, saxophone, bass and drums, both the New Orleans combo of Jeff Albert, and the Boston-based Gypsy Schaeffer quartet, which prominently features slide-specialist Joel Yennior, extend the FreeBop focus pioneered by the New York Art Quartet (NYAQ) in the 1960s. Israeli-born, but a New York resident, trombone and flugabone player Reut Regev alters the arrangement by cleaving closer to Latin beats, On This is R*Time she substitutes David Phelps’ flanged and distorted guitar styling for the saxes present on the other CDs and adds conga and bongo frailer Eddie Bobé to two tracks.

Regev, whose experience encompasses Latin band work as well as membership in Anthony Braxton’s 12+1tet, composed the majority of the tunes here as well as collaborating on a couple with percussionist Igal Foni. Distinguishing strategy throughout is the contrast of her super-clean articulation with Phelps’ echoing fuzz-tone lines and vamps – while Foni concentrates on the backbeat.

On a tune like “Some of the Best Fish Are Alive”, where Regev also plays congas, she extends the Latin-rock groove with trombone triple tonguing and a series of plump, chromatic whole notes. Loosening his distant string-flailing, the guitarist aims for synthesized wiggles and Space Rock homage, as bassist Brad Jones holds down the middle. Climax is reached by intertwining Regev’s mid-range tremolo plus clanking and clipped rhythm patterns.

“Balibalaila” is more diffuse. Sitar-like shimmers from Phelps and walking bass strokes give way to the trombonist alternately pumping lyrical or linear tones on top of a massed percussion attack – including Bobé’s congas. As her horn’s timbres fades into echoing growls, it appears as if Regev is abutting bossa nova lines while the others stick to Latin-Rock.

“Nutcase Scenario”, written by Foni, is the most complete essay in trombone and guitar interaction – although this time it evolves over repeated twangs from Jones’ electric bass. The slashing staccato guitar vamps come up against chugging grace note extensions and subtle growling from Regev. Opened up for a drum solo enlivened by cross sticking and nerve beats, the stop-and-go composition marches to the finish line with brass plunger textures and sliced off guitar chords.

Moving down south from Ninth Avenue to the Ninth Ward, Jeff Albert’s trick bag opens up wide enough to expose a series of the trombonist’s quirkily titled compositions. Most are performed with a sort of jerky and jokey unison between Albert’s trombone double-tonguing and slurs and Ray Moore’s slithery and slippery alto saxophone timbres. Albert’s low blats usually limn the melody while Moore’s sharp trills decorate them – or the process is reversed. Bassist Tommy Sciple walks convincingly, while drummer Dave Cappello’s breaks sometime function as a third lead voice.

Albert, who has backed Crescent City R&B journeymen such as George Porter and Deacon John, is also linked to the newest generation of Windy City improvisers, with his post-Hurricane Katrina-organized Lucky7s band, co-lead by fellow vale-pumper Jeb Bishop and otherwise staffed by Chicagoans.

Here, a piece like “Bag Full of Poboys” is the most New Orleans-like in its grooves, with an in-the-pocket beat and the trombonist and altoist involved in searing double counterpoint. Staying down-and-dirty at the same time as it progresses, the piece allows Albert to let loose with brays, slurs and purrs, while just before Moore fractures the theme with altissimo runs, Cappello’s cymbal action and drags confirm the rhythm.

Not every tune is andante and staccato, however. “Subtle Flower”, for instance, is an intricate ballad. Slowly fertilizing the bloom, the two horn men’s timbres often intertwine, although each is playing a different melody. Moore moves from mid-range to whistling chirps that ascend to higher pitches, while Albert blows blurry, buzzy modulations.

Sometimes the piece takes on a vaguely oriental feel as with “Rookie Cyclist”. Steadily pumped and goosed by Cappello’s ruffs and bumps, the theme gives Albert a chance to showcase a wide-ranging collection of grace notes à la Roswell Rudd, and reed-biting Moore the place to assay rough Archie Shepp-like runs.

Referencing the piano-less NYAQ, as well as similarly constituted earlier quartets such as Ornette Coleman’s in the late 1950s and Gerry Mulligan’s earlier in that decade; Gypsy Schaeffer’s game plan is tight and swinging. That’s not surprising since the group, which has been a working unit since 2003, is made up of Beantown regulars who played together in various combinations over the years. Trombonist Yennior is also a member of the mercurial Either/Orchestra, but roles are shared cooperatively. As is the writing: three of the 13 tunes are by saxophonist Andy Voelker, two by bassist Jeff Charland, and the rest group composition/improvisations.

The majority of the compositions have a definite traditional structure. Voelker’s “New Egypt”, for instance, features his Marion Brown-like alto sax line stating the head on top of Charland’s waking bass line, and then Voelker’s variations are seconded by rumbles from drummer Chris Punis. Yennior’s downward slurs recap the head, which appears a third time as an extro, taken one-third more leisurely than it was at the top. Throughout the disc, the four also confirm that, like the Count Basie band, they can maintain a swinging pace even at slow tempos.

Yennior’s pitch vocalization is featured on “Identity Crisis”, with simian sounds prominent as well. Final variations mate ratamacues and rim shots from Punis, rubato slurs from the trombonist and flutter-tongued alto trills. “Exuberant Irrationalism” on the other hand is pulled along on cymbal chings and a walking bass line, while the horns’ scalar runs expand into jumps and pumps.

Charland’s unvarying bass stops also formalize the connections between the Coleman and Mulligan quartet approaches on Voelker’s “Shark Tank”. After strident unison reed-and-brass sequences give way to a drum solo, the subsequent trading of fours makes the group sound much larger. Utilizing stop-time, the finale is simultaneously fanciful and harmonized.

In truth, none of the trombonists have redefines improvised the music in any way. But all have created pleasurable sessions which expand the definition of mainstream. Each CD suggests further impressive surprises can be expected from all the bands.

-- Ken Waxman

Track Listing: Time 1. Swill^ 2. Hula Hula* 3. Nutcase Scenario&^ 4. Bailbaila*+ 5. Some of the Best Fish Are Alive%* 6. Paradise%*# 7. Elephant Steps&^ 8. Clean Dirt* 9. True Story^

Personnel: Time: Reut Regev (trombone, flugabone& and congas%); David Phelps (guitars); Brad Jones (bass* and electric bass^); Igal Foni (drums and percussion) and Eddie Bobé (congas+ and bongos#)

Track Listing: Similar: 1. Similar in the Opposite Way 2. I Was Just Looking For My Pants 3. 9th Ward Trotsky 4. Subtle Flower 5. Chalk & Chocolate 6. Bag Full of Poboys 7. (Could Have Been a) Napkin 8. Folk Song 9. Morph My Cheese 10. Rookie Cyclist

Personnel: Similar: Jeff Albert (trombone); Ray Moore (alto saxophone); Tommy Sciple (bass) and Dave Cappello (drums)

Track Listing: Album: 1. New Egypt 2. Live a Little 3. Black Friday 4. Standard Candles 5. Grape Soda and Pretzels 6. The Greater Good 7. Welcome Edison 8. Double Quartet 9. Shark Tank 10. Exuberant Irrationalism 11. Ground Swell 12. Call to Arms 13. Identity Crisis

Personnel: Album: Joel Yennior (trombone); Andy Voelker (alto, tenor and soprano saxophones); Jeff Charland (bass) and Chris Punis (drums)

June 23, 2009

MICHAËL ATTIAS

Credo
Clean Feed CF051

Recorded more than seven year ago, the only puzzling aspect of this exciting CD is why it had to wait so long to be released.

Perhaps it’s because 1999 was a half-generation ago in the jazz-improv world, with the musicians here even less known than today and unable to interest local record companies in the product. The later handicap was overcome by going offshore – Clean Feed is Portuguese – although the excellent improvisers featured here still have undeservedly low profiles.

Perhaps the best know now is powerful bassist Chris Lightcap, who works with, among others, multi-reedman Anthony Braxton. Violinist Sam Bardfeld and French hornist Mark Taylor – who are featured on half of CREDO’s eight tracks – have played with percussionist Kevin Norton and Cuban percussionist Roberto Juan Rodriguez (Bardfeld); and as part of altoist Henry Threadgill’s Very Very Circus and George Schuller’s Orange Then Blue big band (Taylor). Drummer Igal Foni has recorded with reedist Avram Fefer and trombonist Steve Swell among others; while trombonist Reut Regev has been part of saxophonist Assif Tsahar’ New York Underground Orchestra and saxophonist Ras Moshe’s Music Now Society band.

Israeli-born, like Foni and Regev, leader Attias was brought up in the Midwest and now lives in New York. His list of credits includes membership in Walter Thompson’s Orchestra, Ramon Rodriguez’s Latin Ensemble and various groups led by Braxton. An accomplished composer – all the tunes are his – the tracks reference Latin hymns, popular standards, bebop and Sephardic liturgy. Cognizant of how best to voice three different horns, fiddle, bass and drums, nearly every tune is bursting with unbridled energy. If there are any shortcomings it’s that most of them adhere to the conventional head-solo-solo-head formula.

Still the level of inspiration makes the solos worth hearing. Regev, who is now also a New Yorker playing everything from salsa and funk to Caribbean and contemporary music, is in particularly fine fettle. Her clear articulation polishes notes to a fine luster on a slow-burning piece like “Orange”, while the title tune is characterized by bluesy, tremolo variations on her part.

“Darn that Darn”, which may or may not be a contrafact of “Darn that Dream”, unfolds from unison polyphony to double- and triple-tonguing from the trombonist, as Attias’ alto saxophone timbres wind their way around her with whinnying pitch modulations.

Lightcap offers up a few example of powerful rasgueado-like pummeling, but is usually content to maintain the beat with Foni. Staying true to his rhythmic function, the traps man introduces beat variations from pseudo conga-like drumming on “Hot Mountain Song” to explosive cymbal, bass drum and nerve-beat stick play on “Credo”.

Similar fast-paced compositions, “Hot Mountain Song” with its echoes of Israeli music, and “Mes Petites Amoureuses”, show off Taylor and Bardfeld’s talents. On the former the violinist turns out a twisting, double-stopping rubato solo on top of woody, bass splaying from Lightcap; while the later not only showcases the ripe mellowness of Taylor’ horn, but also concludes with double counterpoint among pinpoint turns from the fiddler and flutter-tongued pulses from Taylor.

That piece is another highlighting Attias’ trilled and slide-slipping obbligato and other reed invention. His grainy tone on the liturgical “Berechit” connects to the melody’s Sephardic and thus African roots, with grainy punctuation before the band’s shout chorus.

Still, the restrictedly-named “I’s” is the stand-out composition, with the polyrhythmic performance encompassing forefront metallic nerve beats from Foni, cat-gut shrills from Bardfeld and a slip-sliding reed line with bite from Attias. After the brass transforms a rubato counterline into an interlude of lip-buzzy growling, the returning theme is layered with the other instruments’ contributions. Climax is reaches as the final note is held by all for 10 seconds, until the players collectively run out of breath.

CREDO suggests that someone should get Attias, his band and original compositions back in a record studio pronto – if not sooner.

-- Ken Waxman

Track Listing: 1.Credo* 2. I’s* 3. Orange 4. Dream That Darn 5. Hot Mountain Song* 6. Mes Petites Amoureuses* 7. Labat 8. Berechit

Personnel: Reut Regev (trombone[except for 7] ); Mark Taylor (French horn)*; Michaël Attias (alto and baritone saxophones); Sam Bardfeld (violin)*; Chris Lightcap (bass); Igal Foni (drums)

May 22, 2006

ASSIF TSHAR and the ZOANTHROPIC ORCHESTRA

Embracing the Void
Hopscotch 9

ASSIF TSHAR and the NEW YORK UNDERGROUND ORCHESTRA
The Labyrinth
Hopscotch 12

Different as free jazz and New music, on show here are two distinct manifestations of the composing and arranging skills for larger groups by tenor saxophonist Assif Tsahar. Both are engrossing, remarkably mature, compositional works for someone best known for his impassioned blowing with the likes of bassist William Parker and drummer Hamid Drake.

EMBRACING THE VOID has a slight edge however. That’s because all 14 members of the Zoanthropic Orchestra appear better able to personalize the emotional cauldron of Tsahar avant jazz pieces than the 19 musicians of the New York Underground Orchestra can contour THE LABYTINTH into a more original form.

VOID’s clearest antecedent seems to be The Jazz Composer’s Orchestra (JCO)’s 1968 COMMUNICATIONS LP. Designed by Mike Mantler to showcase New Thing soloists such as cornetist Don Cherry, tenor saxophonist Pharoah Sanders and pianist Cecil Taylor, it proved that heartfelt experimental music wasn’t confined to small groups.

Tsahar, who was born in Israel the year after that JCO session was taped, and arrived in New York in 1990, has the same idea, but his 10-part, personalized suite is much more democratic. Nearly every one of the musicians gets a chance to solo here. More to the point, all of the music written by Tsahar appears to be intricately arranged so that each part meshes with the next.

Framed by squealing, post-Ayler solos by the tenor man in the first and -- in altissimo -or even sopranino pitch -- the final number, the almost 56-minute composition balances elements of jazz and other traditions with expressive atonality. Sometimes, as on “Part 3”, the music will contain Balkan and Klezmer components, mixed with some high frequency piano chording from pianist Craig Taborn, whinnying trumpet from Matt Lavelle and cellar deep blasts from Reut Regev’s trombone.

With the other ‘bone chairs filled by Curtis Hasselbring and Steve Swell, the Zoanthropic has a section reminiscent of Duke Ellington’s famed group, with any of the three able to express the restrained elegance of Lawrence Brown as well as more so-called primitive tones. Swell, a fixture in advanced Manhattan bands, is especially able to slide through a variety of plunger-affixed positions, creating a 1920s “Jungle” sound like a Internet age Tricky Sam Nanton.

Later on, a section with Mingus-like Holiness church boogie rhythm finds Swell and another Israeli-born downtowner, alto saxophonist Ori Kaplan, trading licks after the saxman has finished a screeching, triple tonguing solo, and as the band builds to a crescendo behind him. The piece also gives bassist Tom Abbs, Jump Arts mainman, enough breadth to individually sound out stinging arco notes.

When he wants to, Taborn, who has earned his spurs with reedist Roscoe Mitchell and altoist Tim Berne, can speed skate over the keys like a young Cecil Taylor. Other times he can be overtly bluesy, as on “Part 9” when he sets up tenor saxophonist Aaron Stewart’s floating mid-period John Coltranish solo. Stewart, part of the Fieldwork trio and sideman of choice for veteran pianist Andrew Hill, enlivens his outing with mid-range honks and extended techniques, centred on hissing air through his horn.

Elsewhere on the reed front, baritone saxophonist Alex Harding, a sometime Arkestra member gets to exhibit his dual identities on “Part 4”. At one point his tone is as mellow and well-modulated as Gerry Mulligan in his West Coast days, a few bars later he’s digging up the building’s foundations with his reed, spewing out multiphonics as he smears his notes, nearly duking it out with the brass section.

As the band meanders from Basie to Boulez and back again, often you’ll note meticulously arranged unison passages playing off against a moving bass line, or hear the entire band creeping along behind the soloist. Gold Sparkle Band drummer Andrew Barker creates Sunny Murray-like polyrhythms one minute and produces varsity football half-time marching tempos -- complete with rim shots -- a few tracks later. POMO eclecticism is on tap as well on “Part 5”, which features Oscar Noriega, who has worked with pianist Satoko Fujii producing tongue-slapping Eric Dolphy emulations from his bass clarinet. Meanwhile, Anthony Braxton-associate cornetist Taylor Ho Bynum cuts across the band’s massed stop time tutti with a screeching Cat Anderson-like tone.

Distressingly, a year later when Tsahar relocated from Manhattan to Brooklyn to conduct the New York Underground Orchestra through his sprawling, nearly 72½-minute “The Labyrinth”, it seems that some of these players weren’t available. In addition, three violinists, two violists, two cellists and three bassists joined the band, with the woodwinds confined to flutes and clarinets. The result seems more self-consciously philharmonic than, say jazz-classical. Plus many of the additional tones are muffled in the recording or the mix.

Not that there isn’t impressive work here as well. Early on, trombonist Regev who on the earlier CD seems to be an adherent of the gritty Al Grey school creates some elegant muted passages in front of pulsating strings and horns. This symphonic backing don’t prevent Noriega’s bass clarinet to indulge in enough multiphonics to twist the strings echoing aviary tones. Later on, Charles Waters, another Gold Sparkle Band member, uses the string section sawing in the background to cushion a clean, clear clarinet solo that comes out half-Benny Goodman and half-Ornette Coleman (if the later ever played the licorice stick). And trumpeter Nate Wooley, although surrounded by a larger string section than in some of Stan Kenton’s more bloated orchestras, manages to at least push the orchestra into some conventional swinging passages.

Deficiency doesn’t rest with the soloists. It’s the orchestral passages, that with this string-heavy configuration, seems to meander from Debussy-like preciousness to New music bleakness to near-static minimalism. Tsahar’s conduction and writing on “The 5th Path” tries to work out of this conundrum. Muted -- or is it muffled? -- trumpet passages from Lavelle initially displayed on top of unvarying pizzicato pluck from the strings, are soon joined by Wooley for a dramatic fanfare which encompasses rooster crows and plunger work. As the strings move from diminuendo to crescendo and back, both brassmen create a stop time pulse as Tatsuya Nakatani showcases vibes, wood block and other unconventional percussion sounds.

Another time sweet violin and cello lines follow a brass choir intro that gives way to pealing percussion and the odd bass clarinet accent. Yet the andante motion seems merely movement for its own sake. On the last track are Jonah Sacks’ mournful cello presages, Impressionistic strings, twittering flutes and a clarinet and bass clarinet that seem to be trading fours oblivious of what’s unrolling around them. Finally, an exaggerated, extended pianissimo chord is grasped by the reeds and horns until it fades away.

While re-creators -- read copyists -- like Wynton Marsalis, receive awards for using orchestral resources to calcify the tradition, innovators like Tsahar are trying to do something more with larger ensembles. Obviously he doesn’t succeed every time. Plus there is some inexcusable sloppiness on the first disc’s booklet, where performers’ names are spelled incorrectly. They’re correct below.

However, without trying to be hyperbolic, from the evidence here it would seem that one Tsahar almost-failure could be worth a few Marsalis so-called successes. Despite it’s weaknesses, THE LABYRINTH offers some thought-provoking music and EMBRACING THE VOID is a definite triumph. What more could a musically questing composer want?

-- Ken Waxman

Track Listing: Void: 1. Embracing the Void Part 1 2. Embracing the Void Part 2 3. Embracing the Void Part 3. 4. Embracing the Void Part 4 5. Embracing the Void Part 5 6. Embracing the Void Part 6 7. Embracing the Void Part 7 8. Embracing the Void Part 8 9. Embracing the Void Part 9 10. Embracing the Void Part 10

Personnel: Void: Taylor Ho Bynum, Matt Lavelle, Antoine Brye (trumpets); Curtis Hasselbring, Steve Swell and Reut Regev (trombones); Ori Kaplan (alto saxophone); Aaron Stewart, Assif Tsahar (tenor saxophones); Alex Harding (baritone saxophone); Oscar Noriega (bass clarinet and alto saxophone); Craig Taborn (piano); Tom Abbs (bass); Andrew Barker (drums)

Track Listing: Labyrinth: 1. The lst Path 2. The 2nd Path 3. The 3rd Path 4. The 4th Path 5. The 5th Path 6. The 6th Path 7. The 7th Path 8. The 8th Path 9. The 9th Path 10. The 10th Path

Personnel: Labyrinth: Matt Lavelle, Nate Wooley, Marianne Giosa (trumpets); Reut Regev (trombone); Charles Waters (clarinet); Oscar Noriega (bass clarinet); Sabine Arnaud, Muriel Vergnaud (flutes); Melinda Rice, Jean Cook, Katie Pawluk (violins); Stephanie Griffin, Jessica Pavone (violas); Okkyung Lee, Jonah Sacks (cellos); Terrence Murren, Byrne Klay, Todd Nicholson (basses); Tatsuya Nakatani (percussion); Assif Tsahar (conduction)

May 5, 2003