Perplexities on Mars

No Codes
Usual Suspects
Sunset Hill Music SHM 2401

Not all improvised music is exploratory. In fact the majority of players in Jazz would probably not fit into that category. The two quartets here stretch the definition a bit by avoiding one traditional jazz quartet configuration. Instead of featuring a brass instrument in the front line, two saxophones are present alongside the expected double bass and drums combination. Individually each group has an idiosyncratic name, but the Berlin-based Perplexities on Mars (PoM) is just beginning its career, Montréal’s No Codes has been together since 2018.

PoM’s soprano and tenor saxophonist Christopher Kunz is part of a duo with Simon Lucaciu as well as working with other players; tenor saxophonist Max Hirth has recorded with Ignaz Schik; drummer Tom Friedrich has been part of the Monika Roscher Big Band; and bassist Stephan Deller has been in the  Ideal Orchestra.

The more established Québecois crew includes alto saxophonist Benjamin Deschamps, who has also been part of the JazzLab Orchestra and the Joe Sullivan Big Band; tenor saxophonist Frank Lozano, who has recorded with Michel Donato and François Bourassa to name two; bassist Sébastien Pellerin has recorded with everyone from Jacques Kuba Séguin to Gilles Vigneault; while drummer Louis-Vincent Hamel has performed with Yannick Rieu and Rémi Bolduc.

Seemingly interested in stretching freebop rules, PoM’s sax players add tinctures of multiphonics, altissimo runs and honking scoops at points during the nine compositions. However lockstep harmonies or antiphony, when emphasizing asides or melodies, are more common. Depending on the situation Friedrich varies his rhythms from martial to Max Roach-like, but his rumbles and ruffs assure horizontal motion, no matter the tempo. Deller’s walking bass affiliations perform a similar function. Yet space also exists for his arco modulations on a track like “ Who Owns The Space” or supple multi-strings stops as on “Tom und Jerry”.

Vamping and layering consistent moderate and sometime split tone reed action keeps most themes operating at a boppish clip. Though when supplemental excitement is needed, as on “Fingers Closed”, smears and stutters join the broken octave line, plus are integrated with drum smacks and a resonating double bass line.

Additionally concentrating expositions as dual tough tenors seems to be the most fruitful strategy. The few soprano saxophone leads often add an unneeded sweetness to the proceedings. This is avoided on “You Better Watch Out” but only because Hirth’s basement-pitched tenor saxophone tones intertwine with Kunz’s squeaky trills leading to speedy flutter tonguing from both, with multiphonics completed when integrated with drum smacks.

More defining is the concluding “Bimmelbahn II”. As both saxophonists play tenor, the contrapuntal slithers and projections involve one descending with a snorting drone and the other ascending upwards with multiple shakes until the output is attached to marching drum rat tat tats and finally restates the head.

With No Codes’ compositions similarly dived among the band members as with PoM, each of the quartet’s members get to display considerable skills. Pitter-patter bass thumps, popping ruffs and rambling shuffles from the drummer are highlighted alongside profound flutters, doits and honks from the saxophonists. Reed acumen means that Deschamps and Lozano are as apt to create intersections with reflective and studied nonchalance as they are to expel sheets of sound, layered piles of notes and emotional antiphony.

The lively, harmonized and concentrated vamps become most representative and specific as the quartet reaches the final sequences. Hamels’ ratamacues and pops make a proper backdrop for the reeds on his own “Fiend Zone” with enough breaks from sweeping saxophone unity for sliding and ascending expression, although  it’s the one track that fades out. Furthermore the drummer’s “Communa 13” is a perfect summation of the band’s style. A lively jump tune it judders on squeaky alto pressure and snarling tenor tones that lock into a linear theme backed by bass stops and drum pitter patter to end as quartet harmony.

While neither quartet has produced defining program, each has stretched mainstream session in meters, though not in kilometers. A good first effort Forever Home demonstrates that PoM’s permanent residence will soon need some distinctive renovations. No Codes has lined up the Usual Suspects when it comes to Jazz. But searching for sounds further afield and loosening up presentation would delineate a more exclusive identity for it.

–Ken Waxman

Track Listing: Forever: 1. Who Owns The Space 2. Tom Und Jerry 3. You Better Watch Out 4. Fingers Closed 5. Platte 6. Aeguin 7. Cosmic Dancer 8. Forever Home 9. Bimmelbahn II

Personnel: Forever: Christopher Kunz (soprano and tenor saxophones); Max Hirth (tenor saxophone); Stephan Deller (bass) and Tom Friedrich (drums);

Track Listing: Usual: 1. The Quest 2. Usual Suspects 3. Dog Days 4. Hyperstitions 5. Sokushinbutsu 6. Emit Timer Item 7. Anon 8. Fiend Zone 9. Contemplation 10. Communa 13

Personnel: Usual: Benjamin Deschamps (alto saxophone); Frank Lozano (tenor saxophone); Sébastien Pellerin (bass) and Louis-Vincent Hamel (drums)