Mike Reed / Hunter Diamond

Artifacts Trio

…and then there’s this

Astral Spirits Records AS 139

Now well established on the Chicago scene, percussionist, AACM member and club owner Mike Reed still works as a musicians, usually in the company of respected elders like Roscoe Mitchell. More crucially he also makes time to be part of the Artifacts Trio, filled out by two AACM member who now teach far away from their Chicago home town and sometimes still improvises with younger Windy City players.

The other Artifacts are flutist Nicole Mitchell, now at the University of Pittsburgh and Mills College cellist/teacher Tomeka Reid. The trio’s selections are interpretations of each member’s and other AACMers’ compositions. On Nilia, the other disc, Windy City tenor saxophonist/clarinetist Hunter Diamond, who studied composition and improvisation with Mitchell. participates in four free-form improvisations with Reed.

Adding electronics to her flute, Mitchell alters multiple theme expositions with taunt oscillations which provide distinctive contrasts to both the guttural and human-like cries the flutist sometime projects, and the swing riffs she brings to most tracks. When not involved in her own solos, Reid takes on a double bass function, providing a fluid pulse for the nine tracks. As for Reed, his restrained pops often sound as if they’re emanating from hand slapped cow bells and drum tops, creating a distinctive Latin-sensitive beat. Meanwhile Mitchell’s cross-blowing adaptability that range from primitive to pristine, encompasses rebounds, arabesques and echoing flutters. This is especially prominent on her own “Blessed” where expanded harsh stinging tones are barely balanced by simple drum ruffs and ratamacues.

Among the slurpy flute flutters, swift pizzicato runs and responsive drum beats, there are sequences that take on a Second Line flavor (“Reflections”) and those which reflect the modernized roots-Blues of the AACM and BAG (“No Side Effects”). The best demonstration of the trio’s ability to shift from storytelling to syncopation is the extended group composition “Song for Joseph Jarman”. Beginning with simple percussion patterns meeting mid-range flute glissandi, electronics then reshape the line to crying transverse variations joined to contrapuntal cello sweeps. Following Reid’s acceleration to staccato pressure, timbres from all bring the piece to a connective climax.

With only two players involved the program is less complex on Nilia, although Diamond adds a layer of difference by moving between tenor saxophone and clarinet textures. Setting up the paradigm from the top, Energy Music outreach is quickly established with smacks, paradiddles, riffs and harsh patterning from Reid and Diamond’s hardened vibrations, smears and pressurized split tones. The central concept of a session such as this begin improvising with frenetic power and work up to an overriding intensity. That means as inflated and irregular flattement, tumescent glissandi and clarion reed split tone as can be forced into an exposition are expressed, so are tough cymbal scratches, positioned drum patterning and double-stroked paradiddles. Although technical expression is paramount that other concepts also come into play. In fact, even the elongated “Mine Songs” with its narrative twists and turns, ends with a clarion story-telling sequence which sums up, clarifies and affirms the ongoing collaboration. Other tracks, such as the subsequent “The Back of the Brain” inject some humor and liveliness into the duets, lessening intensity. As the two work up from mid rage snarls and backbeats to broken chord harmonies that include reed doits and single cymbal ratchets, excitement without cleavage is added. The concluding retrained nerve beats and flutter-tongued vibrations connect as they confirm the horizontal advances.

In unique and complementary ways, Reed confirms his skills as participant and partners on these discs. The strength of ther session substantiate the skills of known players and burnish the reputation of a younger one.

–Ken Waxman

Track Listing: then: 1. Pleasure Palace 2. Dedicated to Alvin Fielder 3. Blessed 4. In Response To 5. Reflections 6. Song for Helena 7. Soprano 8. Song for Joseph Jarman 9. No Side Effects

Personnel: Nicole Mitchell (flute and electronics); Tomeka Reid (cello) and Mike Reed (drums and percussion)

Track Listing: Nilia: 1. Courtside 2. Mine Songs 3. The Back of the Brain 4. Le Feu de Deux

Personnel: Nilia: Hunter Diamond (tenor saxophone, clarinet and percussion) and Mike Reed (drums)