Evans Robson Quartet

Daniele Cavallanti A World Sound
A Wall of Sound
Felmay 7082

For at least 80 years, the so-called piano-less quartet has seen a standard iteration in Jazz, with the double bass and drums usually complemented by two horns, in this case a couple of saxophonists. Two quartets  – one made up of established Italian improvisers and one newly formed by a group of Australian player – define their individual vision of this configuration on these discs. The results are compelling as well as convincing.

Together since 2015, the Milan-based A World of Sound is one of the chief vehicles for the sounds of tenor saxophonist Daniele Cavallanti, who is joined by alto saxophonist/bass clarinetist Francesco Chiapperini, bassist Gianluca Alberti and drummer Toni Boselli here. All are veterans of groups with Tiziano Tononi, Dino Betti Van Der Noot, the Italian Instabile Orchestra and many others. This disc connects two of Cavallanti’s composition with four from the contemporary Jazz canon.

Although the musicians are just as experienced, the Antipodean quartet is a based on a long-standing musical friendship between the two saxophonists involved: Andrew Robson alto and baritone and Sandy Evans tenor and soprano. Each composed five original tunes. Bassist Brett Hirst and drummer Hamish Stuart are the other musicians and all have extensive Down Under experience with Roger Dean, The Catholics and the MARAI big band.

Back on the European continent, “S.O.S.” and “Downtown Braxtown”, Cavallanti’s two originals, are firmly in the hard-driving linear furrow he’s dug over the past three decades. Although despite Anthony Braton being saluted in the second tune, the performance is more Freebop than Free Jazz. Evolving over a horizontal double bass line and thick drum thumps, the juddering reeds move the theme forward with carefully outlined single note patterns, then stridently move up the scale as they intensify the tempo. A thumping drum and string straining interludes moves the exposition back to reflect the introduction defined with reed pecks.

A similar head recapping ends “S.O.S.”, honoring the John Surman, Mike Osborne and Alan Skidmore reed trio, with aleatory expressions from both Chiapperini and Cavallanti which evolve into lockstep harsh snorts and strident cries after the rhythm section joins them. Ther tenor saxophonist’s throaty moans and the altoist’s fluttering squeals identity each as they separately cram as many notes as can fit into an exposition before joining forces at the end.

Ornette Coleman’s “Street Woman” is given a prestissimo reading with double tongued sputters and scoops, alternating foghorn-sounding blows and altissimo chirps finally connecting with an ending more harmonized than harmolodic. Chiapperini’s chalumeau bass clarinet lowing adds distinctive originality to “Armageddon” one of the two Wayne Shorter tunes, with the group interpretation on the same level as elsewhere.

The Evans Robson band also play in the same contemporary Free Bop style and despite the quartet’s name leave enough room to feature Stuart’s enthusiastic percussion slaps and Hirst’s strums or stops. While most of the tracks are consistent with tandem blowing, lively patterning and stretched reed vibrations, the ones which stand out most pivot into unusual directions. “For Archie”, Evans’ threnody for Aboriginal activist and singer-songwriter Archie Roach, moves from march tempo to a reed collection of slides, doits and stops in a gospel vein, and then to an emotional ending of elevated reed vibratos and a cymbal sizzle. Robson’s “Tea Horse Road” extends his recorder flights with double bass stops until his fripple soloing and Evans’ soprano sax harmonize on a pseudo folk melody. In contrast, the swaggering baritone saxophone blowing he brings to “Lucky Jim” slurs and tongue stops in tandem with basement pitched double bass hand slaps and is underscored by cow bell pops and a shuffle beat.

Throughout both composers’ tunes cleave to the same sort of bouncy linear vibrations, that are slightly stretched to encompass tremolo exposition variations like reed bites, smears and split tones. Professionalism is paramount. But more individualism and perhaps more distinctive Aussie identities would have created themes that stood out more.

As it stand both discs express fine mainstream playing and composing, but lack that special spark of distinction that would make them unsurpassed.

–Ken Waxman

Track Listing: Wall: 1. S.O.S. 2. Armageddon 3. Downtown Braxtown 4. Jesus Maria 5.  Charcoal Blues 6. Street Woman

Personnel: Wall: Francesco Chiapperini (alto saxophone and bass clarinet); Daniele Cavallanti (tenor saxophone); Gianluca Alberti (bass) and Toni Boselli (drums)

Track Listing: Zenith: 1. Morning Star 2. Clarion Call 3. Watussi Dreaming 4. For Archie 5. The Big Merino 6. Tea Horse Road 7. Zenith 8. Lucky Jim 9. The Running Tide 10. Cry to the Waning Moon

Personnel: Zenith: Andrew Robson (alto and baritone saxophones, descant recorder); Sandy Evans (tenor and soprano saxophones); Brett Hirst (bass) and Hamish Stuart (drums and percussion)