Nick Fraser

Expressing both his improvising and compositional prowess, veteran Toronto percussionist Nick Fraser ingeniously operates in two areas here. Three brief tracks find him inserting textures from drums and the so-called piano harp into soundscapes created by the processed electronics of local John Kameel Farah. Lengthier, the remaining four tracks highlight the sympatico interaction between Fraser’s drum patterns and the distinctive narratives of American tenor/soprano saxophonist Tony Malaby and New York-Canadian expat, pianist Kris Davis.

Scene setting bagatelles, the Fraser-Farah tracks mostly outline how quickly and with what invention the drummer responds to the textural manipulator’s sometimes otherworldly sounding  flanges purrs and echoes. Meantime the key take away from the trio selections is how strikingly strategic drum patterns blend with and amplify the others’ input. This involves Davis’ playing which encompasses pedal pressure and individual keyboard extensions and Malaby’s reed elaboration which often emphasizes looming split tones and vibrated shrieks rather than horizontal expositions.

“Sketch 57” is the most telling instance of this. Solidifying piano soundboard echoes and the saxophonist’s measured honks are perfectly timed drum slaps. With this backing Davis creates a distinctive linear theme that is further solidified by mellow reed work and the drummer’s woody stick pops.

An ancient Doublemint gum TV commercial used to tell the audiences to “Double Your Pleasure, Double Your Fun” with its product. Similarly Fraser replicates that dual promise musically by expressing his carefully honed skills in two distinct and distinguished areas.

— Ken Waxman

Track Listing: 1. In the Wreckage* 2. Mimic 3. Area 4. Howling Circuits* 5. here Are Other Ways 6. Sketch 57 7. Brood*

Personnel: Tony Malaby (tenor and soprano saxophones); Kris Davis (piano); Nick Fraser (drums, and piano harp*) and John Kameel Farah (electronics and sound processing*)