Björn Lücker Berlin Ensemble

Veteran Björn Lücker shows off his compositional and leader skills in this eight-track session that link the Hamburg-based drummer with four top-flight Berlin improvisers. While there’s no arguing with the commitment, professionalism and proficiency of the ensemble, a cloud of nostalgia hangs over the tonal dexterity. Unrolling in a Hard Bop mode, the album could easily have been recorded in 1965 or 1975 as today.

One can’t fault an artist for excelling at what he does best, but the percussionist, who also has played with the NDR Big Band, the Hamburg Philharmonic Orchestra and international soloists, seems committed to express what has been repeatedly proven to work. Defined by the boundaries of mid-20^th Century Jazz, the music is circumscribed by certain expectations. Narratives often appear too pat. Each musicians solos on nearly every tune, as well as  expressing harmonized reed expositions, plus a steady bass pulse and piano comping lead to frequent head recapping. Furthermore defining expressions are highlighted in solos, especially during interludes where the others in turn trade four with Lücker’s decisive and in-the-pocket rhythms.

This is puzzling, for some of Lücker’s associates are more adventurous in other circumstances. For instance Tea for Five’s most committed rhythm partner is bassist Lars Gühlcke. Someone who has played with Patrick Braun and Allan Praskin, his cadenced motion is equally sympathetic at reserved tempos as on “Sing” or thicker cadenced swingers like “Golden Suit”. Pianist John Schröder, whose relaxed tinkles or intense dynamics serve dual functions throughout has recorded with sound explorers like Axel Dörner. His energetic cross chording and keyboard slides give some tracks an additional spin. Yet others like “Blues For Hulot” find him in a McCoy Tyner-Herbie Hancock-like mode, half modal and half funky.

The cross pulses and overlap slides from tenor saxophonist Henrik Walsdorff and clarinetist Rudi Mahall are some of the most distinctive motifs, especially when the saxophonist scoops and sweeps on “Line” or during that same tune and most of the others when Mahall’s clarion peeps slither forward or bass clarinets snorts widen the expositions. Still it’s suggested that Mahall, who often plays with Dörner and Walsdorff, who is in bands alongside the clarinetist and with leaders such as Alexander von Schlippenbach, may be holding back.

Overall the most significant track is the extended title tune. Supple clarinet flutters, saxophone smears, in sync bass stops and drum press rolls lead to a crackling performance that reaches a crescendo with a jumping syncopated tutti until unexpected reed tongue stops and snarls cut off the narrative.

Lücker’s accomplishments, that stretch from thundering ruffs to gentle brush work, get a proper showcase here. But a looser structure would have added more individuality to the date.

–Ken Waxman

Track Listing: 1. Line 2. Golden Suit 3. Sing 4. Tea For Five 5. Blues For Hulot 6. Before 7. Exit 8. Blues For Hulot Alternate Take

Personnel: Rudi Mahall (clarinet, bass clarinet); Henrik Walsdorff (tenor saxophone); John Schröder (piano); Lars Gühlcke (bass) and Björn Lücker (drums)