Open Ears
February 2002

Open Ears
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By Laurence Donohue-Greene

Whatever descriptions are given to trumpeter, composer, and leader Dave Douglas from one project seem to serve as conscious or even unintentional building blocks to raze come preparation for his following project. Almost 10 years after his first solo recording debut, Parallel Worlds (Soul Note, 1993), around the same time of the self-entitled debut release of his Tiny Bell Trio (with guitarist Brad Shepik and percussionist Jim Black), Douglas has incessantly though naturally proven that borders and categories are not elements of what his music is at all about. He continues to play and record in every possible various line-up of instrumentation with an all-inclusive approach to music concepts from all around the world with so-called “jazz” and certainly improvisation playing key foundation factors.

One of Douglas’ more recent group ventures is called Witness, an inspiring creative political statement of global proportions by the artist via the utilization of contemporary, electronic, jazz, and world musics, fused together and performed by his largest ensemble recorded to date. “Profit dictates our decisions on a global scale”, Douglas mentions in the liner notes to his most recent release Witness (BMG-Bluebird, 2001) in regards to government politics, “(with) rampant poverty and boundless riches co-exist(ing) as the norm.” He devoted all of the nine tracks to artists and activists who have creatively and inspiringly fought for justice and questioned authority while using non-violent forms. From the title track, which was composed for Edward W. Said (the author of Representations of the Intellectual, in which he confronts “objectivity” by defining and even marginalizing the so-called “intellectual” as but an amateur whose language simply tries to speak truth to power) to “Mahfouz” which is dedicated to the author Naguib Mahfouz whose work covers social (in)justice, class (in)equality, and women’s (non)rights--Douglas sends a succinct musical message via the dozen contributing musicians (which include special guests, vocalist Tom Waits and Yuka Honda on sampler).

The long awaited and much talked about recording Witness (one of my TOP 10 selected recordings from last year) officially was released last August. Its New York City record release debut was actually scheduled for September 12th but, needless to say, was forced into postponement due to the obvious circumstances from the day previous. Preceding the World Economic Forum in Manhattan by only a few weeks, and with a variation of his recorded group, Douglas brought in his live Witness band into the Tonic just over four months after its original scheduled date, with the dust having somewhat settled to a certain extent. Of the live Witness septet, only drummer Michael Sarin and electronic percussionist Ikue Mori were members of Douglas’ larger ensemble found on the Witness recording (other than of course the leader himself). Along with reedman Chris Potter playing the tenor sax and bass clarinet role that Chris Speed, on tenor sax and clarinet, recorded with Douglas, the other members of the live ensemble that January evening included Craig Taborn (Fender Rhodes), Jamie Saft (Wurlitzer and electronic percussion), and bassist Brad Jones who will be touring with a group featuring Douglas, Misha Mengelberg, and Han Bennink through February.

For those dozen or so who arrived significantly early to beat the expected line to get into the club, you surely will recall the promising sound check. Craig Taborn, who seems to have recently been experimenting more often and more comfortably with electronics and non-acoustic keyboards, has added the world of electronics to his arsenal of acoustic piano which he has been more commonly associated with in the groups of multi-reedman James Carter in particular. For the sound check closer, Taborn’s new prowess (ideally documented on the recent Tim Berne recorded project, The Shell Game) combined with the electronics and keyboards of Jamie Saft (who similarly has also worked with Tim Berne) for a Led Zeppelin organ-like keyboard teaser of “No Quarter” (Houses of the Holy, 1973), which even bordered on John Paul Jones’ memorable organ intro to “In The Light” (Physical Graffiti, 1975). The few minutes of impromptu playing certainly served as a good sign, to say the least! But there were no doubts or even expectations by any listeners that night who previously knew anything about Dave Douglas and/or his Witness project, only anticipation of hearing something altogether unique. The association and close camaraderie of all the musicians involved within Douglas’ Witness is as complex and firm-rooted as any extended family tree, as all have extensively played with one another at various times and, likewise, share many common connections to other musicians they have similarly played and/or recorded with. The night had all the makings for being the most memorable concert of the year thus far and perhaps even for the remainder of the year as well. I must say, Douglas and company did not disappoint.

Chris Potter (who is featured on Douglas' late 90's recordings, Leap of Faith and Magic Triangle) has become a perfect foil for Douglas in the front line. Both horn players surrounded themselves with a semi-circle of Jones on upright electric bass and the keyboard/percussion quartet of Saft, Taborn, Sarin, and Mori. Potter's bass clarinet, in particular, provided some of the most memorable moments of the evening, especially in conjunction with the leader on occasional foot pedal-enhanced trumpet. Not many improvising bass clarinetists can make their presence known while subtly and even breathily playing along with another horn player let alone with the on-going percussive nature of Saft, Mori, and of course Sarin. Kudos not only to Potter, but to the empathetic Witness group who were at all times well aware of one another and felt no need to compete or even simultaneously play at every given moment. As a matter of fact, the continuous mixing of instrumentalists and sounds provided atmospheric and textural, bringing an amazing and even orchestral depth to the septet. And, as always, it goes without surprise that the Tonic soundcrew (who are at this point well familiar with all of the musicians involved) created an ideal listening (and, I'm sure, playing) experience for those involved.

The title track to the new Witness recording set the soundstage with a music tapestry of dark, mysterious, and echoing sounds. Potter contributed a low and breath heavy Bennie Maupin-ish bass clarinet, convincingly compensating for the lack of Erik Friedlander’s cello which Douglas originally utilized on the recording. Carefully mixing and adding percussive sounds in a cumulative and landscaping manner, both Mori and Saft sat opposite one another working away like calm and collected scientists. Mori’s design in sounds and in cover art needn’t any introduction, being a pioneering instrument innovator and established experimental composer in her own right. She is also the regular designer, for those who might not have known, of many if not most of the covers to the Tzadik Records catalogue (for which she has a half a dozen sessions of her own since her 1992 recording debut as a leader, Death Praxis). After having moved from Tokyo to New York in the mid-70’s, she has since been associated with Douglas’ Masada bandmate Zorn and many of Zorn’s various projects since the early 80’s, which was around the same time she left drums for exclusively playing her own unique brand of sampler/drum machine/laptop created percussion.

Douglas, with his processed foot-pedal manipulated trumpet, combined with Potter for exchanges that relentlessly interweaved around one another with seeming effortlessness. Saft’s wind gust creations brought the music intensity to a level that found each member of the septet playing full throttle, which represented one of the very few times Potter (still on bass clarinet) was unfortunately though only temporarily lost within the mix. Potter, consequently, momentarily would sensitively pause and find opportune moments, between Douglas’ breaths and the others’ runs, to quickly throw in contributing upper-range notes.

As the pace eventually glided back down, Potter melodically played medium and low range lines through the slower movement with but a mild sampling of accompaniment behind him. While both Mori and Taborn became spectators, Saft provided echoing notes via his Wurlitzer that minimalistically resonated like the hypnotic guitar works of Loren Mazzacane Connors. The sensitive Potter and Saft duo was reminiscent of Maupin’s more avant-gardish Bitches Brew and post-Bitches Brew bass clarinet contributions. Soon joining again were Jones and Sarin, then Mori and Taborn, morphing into the trumpet-bass-drums trio of Douglas, Jones, and Sarin. Douglas showcased his versatile and well-rounded technique through his all-encompassing history-of-the-jazz-trumpet style while maintaining an individuality all his own. His championing of such unheralded trumpet players and trumpet legends of years and decades past as well as of today certainly can be heard through his own well-established style. From Booker Little, the Miles Davis that traditionalists shun (i.e. post Bitches Brew/pre-mid 70’s retirement), Lee Morgan, Woody Shaw, and Don Ellis, to Bill Dixon, Wadada Leo Smith, Hugh Ragin, and Baikida Carroll, as well as the creativity of Lester Bowie and Don Cherry--Douglas has indeed done his homework, and has subsequently bloomed into the torch bearing trumpeter of the 90’s into present day.

The keyboard/percussion trio of Saft, Taborn, and Mori re-entered, and with Potter now as a spectator, the subtle momentum gathering appropriately found Sarin predictably moving from brushes back to sticks. As Douglas looked back to conduct and coordinate Sarin and Taborn in particular, with regards to the closing of the near 40 minute performance of “Witness”, Potter joined in a splendid final sustained bass clarinet note that brought the message home loud and clear in the immediate footsteps and shadow of the final simultaneous sentiments from the remainder of the Witness septet.

Though the first piece by itself would have offered a shorter set and certainly would have been more than satisfactory for these ears, Douglas and the group had more in stall. The second half of the set, which started off a much more hard-hitting and uptempo number than the opening “Witness”, served as a medley of various Douglas works that the band was quite familiar with, to say the least. The septet seamlessly segue-wayed from one piece to the next, treating each respective movement of a tune as if they were intended movements of the same piece. The medley indeed was admittedly not anticipated or prepared, Douglas revealed following the performance, but because of the telepathic communication between all of the involved musicians and their familiarity with Douglas’ music, the sounds came across as natural and spontaneous as could be.

Starting with a composition entitled, “Joe’s Autoglass”, Mori appropriately sampled in the sounds of glass being crushed along with knocks, the banging of thin sheets of metal, dripping water, rainforest life, wheels cranking, and a general random percussive jam of tom toms and cymbals without any steady beat or specific rhythm per se. Mori, who is renowned for her use of tom tom and cymbal sounds as well as her more distinctive processed percussion sounds and samples, was almost unnoticeably joined by Sarin. The drummer, whose work with Douglas is perhaps the most extensive of the other Witness bandmates having recorded on nearly a handful of occasions with Douglas as leader, contributed percussion effects as if adding another percussive dimension to Mori’s own foundation of sounds, as he tapped on his drum heads as well as on the exterior of his drum kit with regular drum sticks as well as with round-headed xylophone sticks.

Potter flew mightily on tenor, while Douglas, Saft, and Jones funkily accompanied. Revealing his much in demand quality and versatility (he’s more than able on tenor, bass clarinet, and alto sax), Potter continues to even impress his respective session leaders, Douglas in this case, as well as Dave Holland, the Mingus Big Band, and Paul Motian amongst others. Saft’s berimbau effects on Wurlitzer provided the septet with instrumental sounds they previously may have not even realized they were armed with. Sarin’s fine brushwork introduced the first of three following movements which made up the near half-hour suite for the second tune of Witness’ first set of music. With low frequency bowing provided by Jones, the horns re-entered with slower harmonies and a more massive use of space.

Again, the concluding moments were so meticulously carried out, you’d think that each final note was pre-thought, if not diligently written out beforehand. Yet, the spontaneity and cohesiveness brought all of the musicians together for a convenient recording studio quality ending. Each simultaneously stopped on a dime for the concluding moments of the set with not a glance at a sheet of music, which were only occasionally utilized throughout the two extended pieces of the first set as mere highway signs. Douglas would pick up his sheet music every so often, wave it in the direction of all the musicians to see, even drop them on the floor, and that was all the musicians needed to know in regards to what direction or dimension they would all soon be travelling towards.

Seemingly well aware of the areas yet to be traveled by various unique instrumentational ensembles comprised of well-acquainted musicians, Douglas continues to take new strides where most others either frustrate or content themselves and/or listeners with their various forms of regurgitation of music’s past and previously heard accomplishments. Though much has been said individually on respective instruments, the “New Frontier”, so to speak, which in itself is boundless, seems to be more through group and ensemble sounds. The endless harmonic and rhythmic possibilities of music through to today is like an open playing field, and each time Douglas steps up to the plate, he successively and successfully drives a hit to a different previously unexplored spot time after time.

Look out for Douglas’ latest recorded exploration of new music turf with the mid-March release of the Dave Douglas Quintet’s The Infinite (with Uri Caine-Fender Rhodes; Chris Potter-tenor sax, bass clarinet; bassist James Genus; and drummer Clarence Penn). His quintet is coming to New York City in late May for a record release celebration at the Village Vanguard (May 21st-26th), which is where the sessions were actually recorded back in February 2001, and feature originals as well as surprising covers of tunes by Mary J.Blige, Rufus Wainright, and Bjork.

Also, upcoming shows at Tonic in the month of February include: John Zorn Improv night, and Bobby Previte with Jamie Saft (2/7); Billy Martin (of MM&W) percussion solo (2/8); Joe Maneri’s 75th B-Day music celebration (2/9); Brad Jones’ Momo Motif (2/15); and Pachora with Chris Speed, Brad Shepik, & Skuli Sverrisson (2/22).

Or for more info, go to: http://www.tonicnyc.com

And last, but not least, keep your ears open to the music!