October 2001

Open Ears
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By Laurence Donohue-Greene

Having been listed in Downbeat’s International Critics Poll of “Talent Deserving Wider Recognition” category from the early’70s through the early ‘90s, clarinetist Perry Robinson has been and still is exactly that—a talent deserving far more recognition than he has received. As a matter of fact, from ’75 through ’82 he was actually voted either #1 or #2 in this category of distinction, and though his musical activities have somewhat slowed down since, his playing at such an intense level has not. And when the genius of Perry Robinson is scheduled to perform live, it’s a date to mark down on your calendar in pen, not pencil.

Such was the occasion, here in Manhattan, on the week anniversary of the World Trade Center attack. Not much music had ensued after the tragedy, for obvious reasons, other than the occasional benefit concert. Clubs and venues were sparsely being attended as they shyly re-opened their doors for customers who were reluctant to even go out for reasons of fear if not guilt. Perry Robinson’s Uni Trio (short for “universal”) had been scheduled to perform at the downstairs stage of the Cornelia Street Café for some time and the trio of Robinson (clarinet), Ed Schuller (bass), and Badal Roy (tablas), in addition to a dozen or so listeners, braved the uncertain conditions.

Robinson’s calling theme of sorts, appropriately entitled “The Call” started off the evening in a prayer-like mode, as he played a few minutes of unaccompanied clarinet in his inimitable way. Robinson has experimented with this theme from his 1965 recording under bassist Henry Grimes’ leadership, on which “The Call” was actually the title track, to more recent variations, such as the one found on the title track of his ’90 recording (featuring Ed Schuller) entitled Call To The Stars. Robinson’s unique approach to his instrument is based on the French method of double embouchure (in which he places both his upper and lower lips onto the mouthpiece versus the more commonly used single embouchure, where the lower lip and upper teeth are utilized instead). Perry, sitting, gracefully moved from the high range of his instrument to a warm Tony Scott influenced bluesy line, as he slowly worked his way towards the conclusion of “The Call” and seamless introduction of “Harem Dance” utilizing a breathy, ala Jimmy Giuffre, line.

The bass of Ed Schuller and tabla accompaniment of Badal Roy glided into the mix, with Badal also chiming in on bells before returning to three of the seven tabla drums before him. Perry revealed his fondness for the licorice stick’s more adventurous tendencies which makes one realize that there are not many adventurous clarinetists in the jazz world at all, let alone exclusive clarinet players outside of the Swing Era vein of Goodman and Artie Shaw. Andy Statman and Don Byron immediately come to mind, but Perry long preceded either of them, and as far as Tony Scott and Jimmy Giuffre (two obvious influences), both experiment and record on various other reed instruments other than the clarinet, even if they do consider the clarinet their primary instrument. Perry Robinson is really to the clarinet what Steve Lacy represents to the soprano sax, as both are solely dedicated to their respective instruments. Most others, who play either the clarinet and/or soprano sax, are doing so as a doubling instrument.

Schuller followed Robinson’s solo, plucking and scat humming as did two of the great walking jazz bassists of all time, Slam Stewart and Major Holley. Schuller has been associated with Perry for some time, having not only recorded with his European quartet found on several West Wind recordings, but also when Perry was a student at the Lenox Jazz School back in the late ‘50s. Ed’s father, Third Stream pioneer Gunther Schuller, was actually a teacher along with Third Stream co-founder, the late John Lewis (of the MJQ). And as far as Perry Robinson’s music links to Badal Roy, he mentions that he was one of the initial people Roy met upon coming to New York for the very first time in the late ‘60s from his native Pakistan. Soon thereafter, of course, Roy was to record successively with Miles Davis and John McLaughlin. Robinson’s Uni trio group concept goes back to around that very same time during the mid ‘60s, though the first time Roy and Robinson actually recorded together was not until their Kundalini session of ’78 after their music was brought to the attention of Paul Bley at IAI Records.

Roy, with shakers in hands, and Robinson showing off his Klezmer playing (being a regular member of Burton Greene’s klezmer outfits) in a warm ballady style, both complement Schuller’s arco playing on the second piece of the evening, “Tale of the Trolls”. Roy’s percussion arsenal proved to be deep and seemingly endless, full of not only various metal and clay shakers, but a collection of rattlers and a string of small golden bells, as well as various other odd percussion instruments he has surely picked up through his travels over the last four decades. Treating his many tabla drums as an actual drum kit, Roy revealed why he has such an individual approach as a tabla player who has been asked to contribute to such varied sessions led by Pharoah Sanders, Dave Liebman, Don Cherry, and Lonnie Liston Smith, not to mention the fact that he has been an integral member of Ornette Coleman’s Prime Time group since the late ‘80s.

Perry Robinson’s composition, “Raga Rummie” began with an invocation type vibe as an introduction. After the first contemplative minute or two, the composition turned sharply into an upbeat piece with Schuller walking all the way, throwing in the occasional string slap. Schuller and Roy in complementing fashion, filled in gaps left by the other, as they worked together enforcing agreed beats. Perry, who had been sitting for the good portion of the music, finished his say at least for the moment, as he put his clarinet back on its stand, and subsequently took a seat at a table as an audience member, conveniently finding his beer where he last left it. Perry then motioned to Roy, as Badal then began chiming away like a frolicking clock at some untold hour. Working each head like a marimba, Badal incredibly and rhythmically weaved in and out of syncopated techno-like and ambient dance beats.

The threesome, it goes without saying, are each stand-up musicians individually. As a collective, however, the collaborative and resulting sound and range shared amongst the ingredients of Robinson’s clarinet, Roy’s tablas, and Schuller’s bass were absolutely exquisite, proven to great effect on their final tune of the first set, “Un Poco De”. The ballad exploited a style that Robinson has affectionately been associated with throughout his career. It’s a spiritual with an even flux of high and low registers in his unique double embouchured breathy style. As Roy treated the clanging of bells as a high hat or cymbal in keeping the shuffling time, the group utilization of space proved key not only to their camaraderie, but musical success.

By the way, look out for a double disc on Eremite Records featuring Robinson with William Parker (bass) and Walter Perkins (drums), documenting their live session done at the Tonic back in early August of this year, as well their recording studio session which makes up the second of the two discs.

Keep your ears open to the music!