Spinifex

Otto Kintet
Wildernis
Choux de Bruxelles chou 2403

Adding various sound currents to Jazz and improvised music has long been one of the hallmarks of the genre. But like a good cook with seasoning, adding too many or the wrong type can alter the taste – or sound in this case – so that the result is a little off. Amsterdam-based Spinifex and bassist Otto Kintet’s Brussels-based quintet try out different recipes with one more flavorful than the other.

Interestingly enough each session’s tunes were composed by one musician. Kintet, who also plays with group like 3’Ain and Abstract Inc. did so on Wildernsis. The other Belgian group members are tenor saxophonist/clarinetist Jeroen Capens, guitarist Lukas Somers, piano/synthesizer player Martin Salemi and drummer Daniel Jonkers. Unlike many other Spinifex sessions, alto saxophonist Tobias Klein wrote all the tracks here as well. Besides the German-born Klein, who has recorded as clarinetist with others like Oguz Büyükberber and Lothar Ohlmeier, Undrilling the Hole also depends strongly on the contributions from American tenor saxophonist John Dikeman, Portuguese bassist Gonçalo Almeida, guitarist Jasper Stadhouders and drummer Philipp Moser, who are actually Dutch, and Belgian trumpeter Bart Maris.

On this session the savor of Rock rhythms is often present via the drummer who also works in a progressive Metal band, But even when a tune such as “Boiling Up Beautifully” is centred around Moser’s steady thumps, linear horn flutters, vamps and whistles keep the development from becoming Jazz Rock. Similarly, the introductory “Embrace the Contradictions” and other tunes may angle towards accepting the texture of brass and drums marching bands, while Stadhouders’ clipping guitar twangs and Maris’ near-mariachi suggestions confirm some of the band’s other influences. There’s no denying this is a Jazz-Improv group however. Besides the riffs, flanges, scoops and rumbles projected throughout, Free Jazz reed strains and tearing screeches arising from the saxophonists on the title tune, they’re part of an interlude to a theme that seems highly reminiscent of some of Charles Mingus’ The Back Saint and the Sinner Lady.

Other than that each band member makes his presence felt either individually or as part of the horn choir whose riffs frequently concentrate and push expositions forward. With a suggestion of harmolodic styles the guitarist’s playing is as likely to fasten on spidery note elaboration as reverberating flanges; drum ruffs and bass rumbles are usually content to hold down the beat; and the trumpeter’s elaborations range from squeaky braying, half-valve ripples and undulating triplets. Both saxophonists do their share of propelling flattement and building up motifs that become wilder as they ascend. It’s probably Klein who exerts himself through bagpipe-chant like hums, while Dikeman outputs unbroken sheets of sounds. Furthermore at points the three horn players unite for a round robin of unaccompanied split tones before the rhythm section kicks in an further expands the tunes.

Kintet’s quintet also tries out as many additions to a basic Jazz interface, but often it appears as if the adornments overwhelm and almost supplement the basic tunes. Tracks like “Train of Dots” seem to list towards a clanging Latin beat mixed with stutters, snores and scoops from the saxophonist, while there are definite Reggae inflection is Jonkers’ rhythmic patterns during the extended “Piedade”  as well as rhythm guitar licks, . But there’s a disconnect between it and Kintet’s woody and throbbing bass line, while Salemi’s piano comping seems more MOR  than montuno.

More notable is the flamenco-styled swiftness Jonkers brings to his pressurized strums on “Wan.de.len” which fit in with the drummer’s whumps, but less so with the synthesizer oscillations on top. Meanwhile Capens’ switch to chalumeau register clarinet on “Fontanel” provides the proper balladic completion to the languid expressions coming from guitar picking and near-pastoral piano lines. Yet a second variation on that tune plus two versions of “Glinstergloed” seem uncalled for with the fear that languid is in danger of becoming lethargic.

Kintet’s composition were inspired from his time residing at Wildernis Strmbk, an abandoned sports complex transformed into an artists’ incubator. Unfortunately it seems that this attempt to reflect the various disciplines there watered down many of his compositional ideas.

Still his quintet has another dozen years to advance before it reaches Spinifex’s age. With the professional talent involved in the Belgian band it too may soon be able to create a session as interestingly original, as Undrilling the Hole.

–Ken Waxman

Track Listing: Undrilling: 1. Embrace the Contradictions 2.  Undrilling the Hole 3. Tatiana 4. Explode Tte Paradox 5. Admire the Ambiguities 6. Boiling Up Beautifully 7. The Big Brother

Personnel: Undrilling: Bart Maris (trumpet); Tobias Klein (alto saxophone); John Dikeman (tenor saxophone); Jasper Stadhouders (guitar); Gonçalo Almeida (bass) and Philipp Moser (drums)

Track Listing: Wildernis: 1. Train of Dots 2. Wan.de.len 3. Fontanel 4. Glinstergloed 5. Piedade 6, Aardoplaat 7. Science Fricton 8. Glinstergloed 2  9.  Fontanel 2

Personnel: Wildernis: Jeroen Capens (tenor saxophone and clarinet); Martin Salemi (piano and synthesizer); Lukas Somers (guitar); Otto Kint (bass) and Daniel Jonkers (drums)