JakTar

Trio Xolo
In Flower, In Song
577 Records 5899

Putting their own spin on the time-honored tenor saxophone-bass-and-drums affiliation, one UK and one US trio create two brief, but equally efficient programs. A showcase for nine compositions by Mexican-American bassist Zachary Swanson, who plays in many New York bands In Flower, In Song also features improv interpretations of Baltimore tenor saxophonist Derrick Michaels and Lithuanian drummer Dalius Naujo. More committed to abstract improvisation JakTar consists of veteran free music players, tenor saxophonist Christophe de Bézenac, bassist Michael Bardon and percussionist Paul Hession, the last of whom has a years long playing partnership with Mick Beck.
An equitable project, Trio Xolo’s nine tracks provide space for all, with Michaels’ mobile pitches and slides usually elaborating the melody as well as sneaking into dissonant corners. Meanwhile Naujo uses a collection of paradiddles, nerve beats and clatters as the introduction to the CD’s two final cuts before the main theme kicks in. There as elsewhere, besides creating a dual pulse Naujo and Swanson often create contrapuntal challenges which contrast regularized drum beats with slippery string scaling or with the bassist’s pops becoming more percussive and the drummer’s pats more connective as they play.

Creating a hocketing cornucopia of reed textures, Michaels seesaws between overblowing and split tones to torque effects and pace smears and vibration that move the pieces forward. Atonality doesn’t disrupt linear movement, while his scoops, smears and flattement keep his playing from becoming too straight-ahead. This equivalence between freeform and formalism is demonstrated on tracks like “ A Mobius Strip”. Beginning mid-range with moderated string plucks and relaxed percussion slaps, the tune erupts at mid point with brief multi-note squeaks and reflux from the saxophonist. Swallowed by noisier drum pressure, Michaels then slides down to complementary slurs. The same sort of strategy happens in reverse on the concluding “Obsidian Eucalyptus”. Pinpointed double bass-saxophone pops at the top, the piece moves downwards to expose measured sax slurs, doubled by bass pops. Yet the final shrilling sequence is not only animated by hard split tones and smears from the saxophonist, but ascending cymbals crashes with only the walking bass line keeping the narrative grounded. Within a story-telling context Naujo and Swanson at points expose searching extended techniques, but always in the context of a horizontal advance.

This distinguishes that program from JakTar’s 10 tracks since relentless drum thumping, echoing spiccato string slices and reed overblowing, sometimes coupled with vocalized cries are the modus operandi. This is organized from the first track onwards with “Ron on Tap” the most extended variant. Beginning with twittering and trilling reed bites, resonating double bass twangs that seem to be digging notes out of the wood and drum clanks and clangs, the piece grows in intensity. As de Bézenac blows split tones after split tones, nearly reaching speaking-in-tongues ecstasy, Bardon rubs harsh tones from his strings and Hession batters metal, slams drum heads and pops sticks. Yelps from within his horn’s body tube contributes to the saxophonist’s pressurized rush and the bassist responds at the same speed with arco strokes. Finally all three reach a climax of elevated polytones, with de Bézenac’s basso snort and upwards cry finally cutting off the interaction. Other tracks such as the brief “Commoner” have a near-balladic ending following martial drum rolls and reed sputters, but most propose the frenetic over the fundamental. Bardon can project entire accompaniment in a concentrated arco drone; Hession can use gong and cymbal resonations, lug-loosening and sandpaper like strokes to propel and decorate percussion movements; and de Bézenac answers string buzzes with doits and smears and cymbal swipes with tongue stops and shaking pressure. If spittle-encrusted bubbling suggests itself as a way to create a contrapuntal pattern with string slices and percussion thumps than the saxophonist is ready to use it. Overall though there’s enough theme repetition and tone affiliation to affirm concentrated movement.
Like directors who come up with novel ways to create a film, the possibilities for manipulating tenor saxophone-bass-and-drums trio seem limitless. At least these bands have demonstrated that.

–Ken Waxman

Track Listing: Flower: 1. Texcoco 2. In Ruins 3. Anchored in Peace 4. Ritualistic 5. A Mobius Strip 6. Cropsey 7. Gravesend 8. Vantablack 9. Obsidian Eucalyptus

Personnel: Flower: Derrick Michaels (tenor saxophone); Zachary Swanson (bass) and Dalius Naujo (drums)

Track Listing: Jak: 1. Mitch Bryan 2. Greenfaces 3. Hans Kru 4. Forn Valour 5. Commoner 6. Ron on Tap 7. Mongo Grave 8. Knotskar 9. Pip Sucin 10. Carn Delk

Personnel: Jak: Christophe de Bézenac (tenor saxophone); Michael Bardon (bass) and Paul Hession (drums, cymbals and gongs)