Rodigo Amado The Bridge

Ullmann/Oberg/Fonda/Ulrich
New Conference Calle
zz-thetics 1065

Particular takes on the time-honored sax and rhythm section form are these quartets that mix and match a combination of ages and nationalities to come up with ingenious variations. Further Beyond for instance feature three extended improvisations by a configuration of Portuguese tenor saxophonist Rodrigo Amado, American drummer Gerry Hemingway, Norwegian bassist Ingebrigt Håker Flaten, all middle-aged veterans of many ensembles, and one of the architects of European Free Jazz, pianist Alexander Von Schlippenbach, now 88. Closer in age to one another, and the musicians on the other disc except the pianist, the members of New Conference Call  have similar comprehensive music experience They are three Germans: tenor saxophonist Gebhard Ullmann, pianist Uwe Oberg and drummer Dieter Ulrich plus American bassist Joe Fonda.

Further Beyond lives up to its title as the four aggressively charge through lengthy and even more protracted improvisations named with liberation slogans from the 1960s and 1970s. Although the tenor saxophonist in particular plays with the sort of incendiary release that characterized the playing of comparable saxophonists of the New Thing era, Amado tempers his horizontal screams, fragmented flutters, bellicose scoop and triple tonguing with repeated linear patterns. There’s even a point mid-way through “A Change Is Gonna Come” where reed build up transforms into longer languid and almost lyrical vibrations. At times this is in response to the developing reshaping of quotes and asides from the pianist, who always manages to refer to the oeuvre of Thelonious Monk, his original inspiration. At various tempos the drummer varies his pressure from hard percussion incisions to in-the-pocket stomps. More background than the others, the bassist limits his pulse to linear walks and in sync pulses.

Most sonically descriptive is the interaction on the nearly 28-minute title tune. Although initially relaxed with paced reed slurs and reflective keyboard comping, it quickly accelerates to clenched cries and woodpecker-like jabs and altissimo reed yelps that are crammed and pressurized and together seem almost unlimited. The pianist responds in kind, craftily moving up the scale following Amado’s distended split tones, while at the same time snaking all over the keyboard and adding to the tension with pedal pressure. Håker Flaten’s string rubs and double stops are more prominent than elsewhere as are Hemingway’s drum pops and smacks. Eventually the percussion battering and saxophone multiphonics descends to a brief conclusive \calming interlude from the group.

The bridge between this quartet and the New Conference Call  – named that way as there have been other group configurations – is more acknowledgement of the Jazz improv tradition. Most obviously the final four: “Maneri-sms – for Joe”, celebrates the microtonal master reedist Joe Maneri; “To Be Ornette To Be” pays homage to Ornette Coleman; “May the Flowers Bloom Again” could be references to tenor saxophonists David Murray or Albert Ayler and “Salt and Pepper – for Jim” commemorate saxophonist Jim Pepper.

However reverence doesn’t mean replication. “Maneri-sms – for Joe” for instance is more about metamorphosis than microtones as Ullmann’s whimpering flutter inflates to cornucopia-wide blowing, followed closely by Fonda’s broadening arco rubs and in sync piano chording. Eventually rugged reed sighs also bring out Oberg’s speedier pianism, advancing to group terpsichorean patterning and a final low-pitch reed smear. The subsequent “To Be Ornette To Be” sounds more Coltrane-eque than Coleman-esque. High-pitched reed bites and tongue stops meet Ulrich’s emphasized rim shots and rugged smacks, thick bass string twanging and slaps, pressured piano cadences and the stop-start exposition concluded with harsh reed tones. Only  “Salt and Pepper – for Jim” intimates some Pepperisms, as elevated reed scowls and shakes quickly expose a swinging melody abetted by expressive keyboard plinks and drum rolls.

More to the points is “You Failed Us” – reference unexplained – which wraps toughened variables from all into thick power projections. They include ricocheting steel string extensions from the bassist, fragmented double tonguing from the saxophonist, the pianist bearing down with careful keyboard note placement and percussion rolls and patterns. “Elastic Joy”, the extended opening track also serves as a proper sonic calling card for the group. It cunningly connects the extended techniques involved in rounded smears and strained tones from the saxophonist plus tough drum accents with linear progressive from bass string throbs and emphasized keyboard slides and stops. By finding a place for reed motifs that appear to be propelled from deep inside the horn and thick double bass strokes, both ports of this conference call are on the line.

Instrumentation may be the same, yet it’s obvious that each ensemble has found a unique manner to explore its take on the music.

–Ken Waxman

Track Listing: Further: 1. A Change Is Gonna Come 2. Further Beyond 3.That’s How Strong Our Love Is

Personnel: Further: Rodrigo Amado (tenor saxophone); Alexander Von Schlippenbach (piano); Ingebrigt Håker Flaten (bass) and Gerry Hemingway (drums and  voice)

Track Listing: New: 1. Elastic Joy 2. Quiet Call 3. You Failed Us 4. Structures No. 2 5. Maneri-sms – for Joe 6. To Be Ornette To Be 7. May the Flowers Bloom Again 8. Salt and Pepper – for Jim

Personnel: New: Gebhard Ullmann (tenor saxophone); Uwe Oberg (piano); Joe Fonda (bass) and Dieter Ulrich (drums and bugle)