October 2001

Open Ears
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By Laurence Donohue-Greene

With so much having been said and done on an individual basis in regards to musicians and their respective instruments, it would seem to be an almost frustrating state of affairs the music world must be in on at least a musician to musician basis. For some time now, inevitable comparisons to preceding musicians always seem to be made after a musician plays a phrase or even, at times, a single note. With some truth to the lack of availability to uncharted territory for most instruments, it is encouraging to realize that there is still a world of unexplored music and sounds reserved for at least collectives, whether in duos quintets, or even big bands.

The Cosmosamatics is a recently co-founded group concept of alto saxophonist and English horn man, Sonny Simmons, and multi reedman, Michael Marcus. Their collaborative concept is based upon this very fact that the whole is, indeed, greater than the sum of its parts. Simmons and Marcus have as near a telepathic communication than any other two reedmen who come to mind. Whether it’s Simmons on alto with Marcus on his straight tenor, or Simmons playing the English horn as Marcus is on bass clarinet, the two always seem to move as one. The two have been associated with one another now for well over ten years, and to hear their give and take exchanges is to hear a new instrument altogether.

Having the opportunity to see them live proved not only magical but also promising for what may lay ahead if this quartet featuring Andrew Cyrille-influenced drummer, Jay Rosen and bassist, Curtis Lundy indeed remain together. The bass chair seems to be the only revolving factor for the group with William Parker being the bassist on their self-entitled debut recording (recently released on Boxholder Records), and Alex Blake who was the featured bassist during their live debut at the Knitting Factory in New York back in early August. Their official CD release concert, however, took place at the Tonic on September 6th and, again, featured, the newest member of the group, Lundy, whose work with significant contributors as leaders of the jazz world--Betty Carter and Pharoah Sanders-- is well documented. Lundy, as a matter of fact, already had been in the recording studio with the Cosmosamatics, who recently got their debut follow-up in the can (also to be released on Boxholder).

The beginning of each set at the half-filled Tonic began with Simmons lighting a stick of incense as a pre-concert ritual before picking up his English horn. Simmons is one of the very few non-classical practitioners of this beautiful sounding instrument. Marcus, on piano, assisted with Simmons’ tuning of the odd instrument with Lundy in an orchestra-like pre-concert tuning fashion bowing his upright acoustic bass. During the opening of the second set, as a matter of fact, this two minute trance inducing tuning evolved straight into “Father of Isis”, a Michael Marcus composition which lent itself very much to the Indian influenced Alice Coltrane composition, “Isis and Osiris” (from her 1970 recording, Journey in Satchidananda). Rosen contributed some beautiful tom tom work on his drums showing off his Elvin Jones roots, or at least respect. Lundy, meanwhile, once again showed off his sublime arco chops. Marcus then gracefully moved from the piano bench, where he was lightly but effectively adding colors to the overall momentum, over to his bass clarinet on which he subtly added a darker and deeper vibe to the piece. The musical camaraderie between Simmons and Marcus, as previously mentioned, was no more evident than the collective sound they produced then on English horn and bass clarinet respectively.

Unlike “Father of Isis”, the first tune from the first set (following the incidental tune up), “Near” is actually found on the Cosmosamatics’ debut recording. Marcus, found on his unique straight tenor sax, played in a Siamese twin-like fashion with Simmons who offered up Bird-based runs from his main axe, the alto sax. Their high note exchange was unfortunately left high and dry by the reticence of Lundy who obviously was still getting comfortable with the new surroundings, not to mention the new music (all originals, I might add.) Rosen, to the rescue, basically recreated the momentum with an effective drum roll and snare run which quickly brought the tune’s original tempo back up to speed. Then, wisely, the horns came back to the forefront with Marcus taking the first solo on the darker toned member of the tenor family. Simmons, in the near background, contributed some vocal chants, offering grunts of encouragement to his musical brother, Marcus, who was busy bordering on an intense glossolalia speaking in tongues mode of a solo. With Rosen providing a syncopated tribal beat foundation in support, Marcus threw in the occasional high shriek for good measure, as Simmons’ alto overlapped the beginning of his own solo with Marcus’ final sentiments. The appreciative claps from the audience for Marcus’ inspired solo halted Simmons momentarily, but then his revved up classic alto cloisters immediately reminded listeners who they were dealing with. Here’s a man who has contributed to some historic sessions alongside masters as both a sideman and leader in his own right. From Bobby Hutcherson and Elvin Jones to the many groundbreaking sessions he has himself recorded as a leader for labels such as Contemporary, ESP, Qwest, and CIMP—Simmons is a one of a kind, and to hear him is to believe him. An unfortunately and inexcusably oft neglected giant who truly belongs in the upper echelon of the great post-Charlie Parker altoists, Simmons belongs in this honorable list which would include amongst others Jackie McLean, Cannonball Adderley, Ornette Coleman, and Eric Dolphy. Living in France for the past near half a dozen years, Simmons only visits the States occasionally, which hopefully will not prove to be a contributing obstacle in the musical development of this new Cosmosamatics’ concept.

During the second set, Simmons’ composition, “Echoes of Eric Dolphy”, featured the composer on alto sax and Marcus on straight tenor. Their collaborative horn unison overlapped at blaring speed and accuracy in a telepathic-like mode for five plus minutes before Simmons eventually relented to Marcus’ blistering solo. Simmons would take the baton back without loss of stride, as Rosen machine-gunned his way above Sonny’s frequent high frequency screams. Marcus returned, though this time on bass clarinet, as the meter and beat of the tune became superceded by a free for all with each Cosmosamatic revolving around the other until Lundy, then Rosen, gradually brought their feet down to earth, momentarily as it may have been. Marcus, back to the straight tenor, preached ala Albert Ayler’s deep resonant bellows as Rosen and Lundy moved as a three-person rhythm section.

Following the stuttered opening bass sentiment, the melodic opening of Marcus’ “Fusion Anatomy” featured the straight tenor and alto sax reed section. Rosen, once again, picked up the pace to Sonny’s standards and liking. Simmons proved that he is indeed one of the few improvisers who not only has so very much to say, but does so in such convincing fashion within as little a time frame, solo-wise, as possible. The less boisterous and frenetic bass playing of Lundy’s bass playing reveals an element the Cosmosamatics have obviously been looking for, as his predecessor in the bass chair, Blake, served as a polar opposite in comparison.

Simmons and Marcus have certainly left us with some food for thought, especially for those who witnessed the unique concert at the Tonic in early September. And for those who missed it, there’s the new self-entitled Cosmosamatics album (Boxholder Records). The recording features bassist extraordinaire, William Parker and percussionist, Jay Rosen. It also features special guests: multi reedman, James Carter (featured on two tracks on his bass sax), tabla player Samir Chatterjee (who was recently playing in New York with Miya Masaoka’s Trans Liberation Trio), and ex-Jimmy Lyons bandmate, bassoonist Karen Borca. It’s music worthy of inclusion in the tradition of the ESP catalogue (which Simmons, you may recall, recorded two timeless sessions as a leader both from 1966) and so certainly, therefore, should stand the test of time itself.

Keep your ears open to the music!