Urs Leimgruber/Jacques Demierre/Barre Phillips

All good things must come to an end is a cliché that fits musical groups that dissolve as well as other situations. It happened to the Modern Jazz Quartet and the Beatles and now it’s affected the Leimgruber/Demierre/Phillips trio. Unlike the other bands which came apart with acrimony and estrangement, this trio is no more after 22 years because long-time European expatriate bassist Barre Phillips, now 88 has returned to the US. This leaves open the possibility of future North American gigs, but this notable two-CD is the band’s Continental swan song.

Besides Phillips, who has worked with everyone from Jimmy Giuffre to Evan Parker, the other members both Swiss, are soprano saxophonist Urs Leimgruber, 71, who has roots in fusion as well as free music and Jacques Demierre, 69, who is involved with notated and improv music. Neither will lack for work. Like the MJQ’s Milt Jackson, both are also involved with many other projects. However the unique freeform collective’s perceptions, amply showcases in concert here won’t be duplicated.

Actually both concerts follow a similar trajectory. Subtle and nearly soundless reed chirps, piano string strums and vibrating double bass string pops introduce the sequence, which is then intensified with keyboard rumbles and corkscrew saxophone flattement. Solid bass buzzes lead the three into extended kaleidoscopic, fine-tuned timbre examinations. Then the multi-part improvisation is concluded with moderated expressions from all that relates back and resolve the introductory motif. Still the final sections are variegated enough, especially during Concert One, that territory is cleared for Phillips to confirm his unabated solo techniques blending percussive frails, single note pointillism and alternating plucks.

There’s nothing formalistic however about how each trio member leans into the program bringing both speculative and solid sonic tropes forward. At the beginning of “Part 02” during the second concert for instance, although Leimgruber’s paradigm cycles through an intermittent collection of strident yelps and altissimo squeals, the others’ responses bridge the gaps to synthesis. Along with a swelling arco ostinato from the bassist, Demierre’s dynamic pianism builds celeste-like tinkling tone fragments into shaking glissandi and pedal point prods that get louder as they affiliate with the saxophonist’s foreshortened flutters and bites.

Additionally “Part o4” during the first concert, which also approaches the 20-minute mark, traces the blended evolution from lightness to heaviness and a symmetrical flow to free form explosions. Along the way saxophone split tones inflate to raucous screeches and keyboard comping explodes into pounding on stopped piano keys making the piano itself seem to undulate. Bass-string strokes hover in the background until Leimgruber’s splattering tongue stops and circular breathed tones thins them to a straightforward high-pitched conclusion joined by Demierre’s mid-range chordal patterning.

More sound delineation occurs with plastic doll-like squeaks and fragmenting doits from the saxophonist, linear, staccato or heraldic chording from the pianist and the Arcadian or thickened strokes from the bassist. But the overriding denouncement is a wonderful comment on the trio’s interactive musical skill. Of course sadness must have been mixed in since these were some of the band’s final concerts.

–Ken Waxman

Track Listing: CD1: Concert One: 1. 1 Part 01 2. Part 02 3. Part 03 4. Part 04 5. Part 05 6. Part 06 7. Part 07 8. Part 08 CD2: Concert Two: 1. Part 01 2. Part 02 3. Part 03 4. Part 04 5. Part 05 6. Part 06

Personnel: Urs Leimgruber (soprano saxophone); Jacques Demierre (piano) and Barre Phillips (bass)