Steve Swell / William Connell Jr / Reggie Nicholson

Clover

Paradigme

Yolk Records J 2087

Maintaining sonic equity between the stresses engendered by the respective qualities of a trombone and a saxophone can be tricky in a free music situation. The stresses are compounded when only one other instrument is involved for a variant of percussive back up. Yet two trios, one from France and the other American, create this delicate balance, albeit with singular concepts and execution.

Consisting of players who lead their own bands and have played with stylists as different as Tim Berne, Didier Ithursat and Stephan Olivia, Clover links trombonist Jean-Louis Pommier, bassist Sebastien Boisseau and tenor saxophonist Alban Darche on a 2021 program of 10 originals, eight of which were composed by Darche, the others one each. The majority of the 11 tracks on The Bearable Lightness of Being were composed by New York trombonist Steve Swell, with two by alto saxophonist William Connell Jr. Drummer Reggie Nicholson completes the band, whose members have worked with many free players from Myra Melford to William Parker. Sadly this 2014 set was probably Connell’s last; he died eight months later.

Progressing in triple counterpoint, Paradigme’s tunes’ stability and linearity often depends on grounded thumps from the bassist to anchor the see-sawing harmonies of the trombonist and saxophonist. Smooth without being saccharine, from “Laisse aller”, the first track, onwards, the connection and skill projected by Darche and Pommier are like duets from modern day Johnny Hodges and Lawrence Brown. At the same rime Clover shows its European roots with sections of a few tunes cast in the form of a canon. This can be particularly effective during those sequences when precise and formal introductions give way to taut mounting elation. When muted brass portamento brushes up against concentrated reed trill, for instance the result is propelled by either swift pizzicato bass plucks or sweeping arco connections.

Sometimes playing a capella in sections or kiting expositions so triple lines cross over one another, Clover also advances Klezmer-like reed slides and gutbucket brass smears. Yet this contrapuntal work proceeds without upsetting the set’s horizontal movement, which is projected languidly without an overriding beat.

The most salient instance of this cooperation occurs on “Wendat” and the subsequent “Winter song”. Introduced by a thickened bass thump, the exposition moves along with Pommier alternating between harsh tailgate slides and choked half-valve effects. More bass string pumps propel the intertwined horn parts upwards until they achieve a perfect horizontal balance. The segue into the following track creates a swift andante narrative out of string stops, brass rips and reed vibrations.

With a more pronounced, but due to Nicholson’s skill, not overriding percussive beat, the American trio exhibits similar harmony among the three player’s output. Oftentimes unison expositions define the sequences, with several tracks invested with classic Free Jazz energy, sometimes sliding into integrated choruses reminiscent of Roswell Rudd’s work with John Tchicai. Extended press rolls help move the jaunty march that is “Pressed Rose Take Two” away from horn triple tonguing to trio connections for instance, with Connell’s “Watabu Take One” another prime example of that trope. Following high pitched variations on unaccompanied reed squeals, bites and split tones, Swell’s portamento glides split apart the theme with machine-gun-like thrust, then connect it again in tandem with Connell’s output.

In contrast “Watabu Take Two” is still barbed in execution, but also expresses balladic features. This shows up most succinctly when thickened flutters from the trombonist brush up against reflux and smears from the saxophonist. “Energy for Roy Campbell Take Two” is the CD’s other low-key track. Composed as a threnody by Swell, it memorializes a trumpet playing colleague of all three, who at that point, had died two months previously. Both hard-edged and melancholic, the track harmonies drum shakes, emotional brass flutters and irregularly vibrated reed pitches. Elsewhere on the disc tunes ranging from the hard pushing introductory title track all the way to the penultimate and final showpieces intertwine hale and hearty outpourings from all three, often played andante and spiccato. If the horns take turns extending yelps, stutters and whinnies into galvanized vamps, these are then connected with drum ruffs and rebounds.

While Paradigme is immeasurably better recorded than the somewhat home-made lo-fi quality of The Bearable Lightness of Being, both offer notable solution to the horn trio challenge and fine music as well.

–Ken Waxman

Track Listing: Paradigme: 1. Laisse aller 2. Canevas 3. Les anges silencieux 4. Paradigme 5. Label aventure 6. La sensation du temps 7. Telemann 8. Wendat 9. Winter song 10. L’empreinte

Personnel Paradigme: Jean-Louis Pommier (trombone); Alban Darche (tenor saxophone) and Sebastien Boisseau (bass)

Track Listing: Bearable: 1. The Bearable Lightness of Being 2. Watabu Take One 3. Energy for Roy Campbell Take Two 4. Pressed Rose Take Two 5. Reggie Tune/Quiet Vindication Take Two 6. Match of Jazz Dinosaurs 7. On Solid Ground (improv) 8. Watabu Take Two 9. Multi-shaped Blue Notes Pass Overheard (improv) 10. The Unquestioned Task 11. Chevron

Personnel: Bearable: Steve Swell (trombone); William Connell Jr. (alto saxophone) and Reggie Nicholson (drums)