October 2001

Open Ears
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By Laurence Donohue-Greene

In many of the so-called “lower” animals, reproduction takes place in two ways. One being by the means of eggs and the other by a process of budding with or without separation from the parent of the product of the latter (which is often very different from that of the egg). The individuality of the species is represented by the whole of the form produced between two sexual reproductions, and these forms, which are apparently individual animals, are known as “zooids”.

Whether live or on record, any project by the great altoist, flautist, composer, and leader Henry Threadgill is a welcome sight to the ears. In this recent case, I had the distinct advantage of both. Threadgill’s calls his latest collective, Zooid. It features the unique instrumentation of acoustic guitar (Liberty Ellman), oud (Tarik Benbrahim), tuba (Jose Davila), cello (Dana Leong), and drums (Dafnis Prieto). Though not an official record release celebration for the young group (as the Zooid recording debut will be due out in November), this Knitting Factory occasion marked the immediate days following their actual studio recording. The night, as a matter of fact, was Zooid’s third of three nights and this penultimate set of their Knit residency gave the audience more than a sampling of their forthcoming Pi Records release entitled, Up Popped the Two Lips.

The booming sound of Jose Davila’s tuba and drum work of Dafnis Prieto immediately led the fairly packed main space of the club straight into the opening tune. Unfortunately both instruments contributed to the consequential drowning out of Zooid’s strings, from Liberty Ellman’s subtle short note to note acoustic guitar picking style to Dana Leong’s cello, not to mention Tarik Benbrahim whose efforts were for the most part audibly missed throughout the evening on oud. Normally accustomed to brass instruments such as French horns, trumpets, and trombones, Threadgill has since replaced the boisterous Very Very Circus feel for the more acoustic and, one might think, subtler side of strings. Zooid, however, is a just as rowdy collective of primarily upbeat new and very complex original Threadgill material performed by an instrumental combination that is far from any type of replication. Though the writing was not as subtle as far as harmonies were concerned, as more weight seemingly was placed on the rhythmic side (which, again, at times cancelled out any acoustic elements of the guitar, oud, and even cello parts)—rest assured that Threadgill’s best intentions were caught ideally on the new Zooid record. Unfortunately those elements didn’t necessarily transfer as successfully, where at least this live occasion was concerned.

Featured on flute for the opener, Threadgill proved himself to be a real individual on the wind instrument. For those who maybe were not already convinced of this from his previous projects, one need look no further than his ground breaking and music barrier breaking work with the improvisational trio, Air, which he recorded at least nine sessions with through the ‘70s and ‘80s. The youthful Zooid group of new Threadgill recruits showed absolutely no distraction from their music stands, as each member displayed a keen focus to the sheets of music not only for this tune, but for each to follow. Though the group had already been in the recording studio, as aforementioned, the music had not quite yet become second nature. As is usually the case with new music, the improvisation and interaction factors therefore seemed scarce, as everyone seemed a bit too preoccupied in not missing any of the written down music. As a matter of fact, after the concert while Prieto was intently focused on his sheet music for the following and final set, Threadgill revealingly mentioned, “Yeah, we’re starting to get some of this down now…(It) feels a lot better than the first night.”

The combination of the complexity of sounds Zooid presented in their performance, for not only the involved musicians but also Knitting Factory sound crew, proved to be a discouraging though not altogether disastrous mix. Leong’s cello sounded off like a popping bass at times, an advantage or disadvantage for the listener due to the evident mix. One actually might have imagined that Knit’s sound crew would have been accustomed to the unique elements and instruments involved by this time. After all, this was the fifth of six total sets Zooid performed in the last three days.

Benbrahim’s oud opening of the second piece complemented the colors created by Prieto’s cymbal work beautifully. Leong added lightly tapped notes from his cello before all but Threadgill spaciously and almost randomly added syncopated single note line contributions. Prieto then dropped into a steady funk beat foundation with Threadgill eventually joining in on flute. Ellman’s guitar lines gradually seeped into a solo utilizing what at first seemed like a foot pedal, but was actually a volume pedal giving himself an occasional boost over the boisterous tuba and drums. The single lines from Ellman, along with the string support of Leong’s flute-like cello rings and the exotic oud of Benbrahim proved to be musically successful both in mix and concept.

Threadgill then followed Ellman back to the forefront, as slight adjustments seemed to be made in regards to the muddy tuba and cello sound combination (either through the sound board or maybe even by the musicians themselves). Unfortunately, Threadgill’s high notes rung in the ears at a slightly uncomfortable level, being a tad or two too loud in volume. Though obviously the leader of this new aggregation, the Knitting Factory, again, should have been aware of the group concept and sound which Threadgill was aiming to achieve with this unique combination. It is unfortunate in these instances when these technicalities reflect unfairly upon the music not to mention the musicians, but it does give reason and good argument for groups such as this to perhaps come equipped with their own sound people.

Meanwhile, all musicians’ eyes remained glued to the music sheets with rare glances at one another, which might serve as evidence that this new music of Threadgill’s may just be the most complex he has written to date. And as further proof of that possibility, Threadgill seemed to solo himself much less, perhaps due to his focus on the compositional side for this new collective of his. There were several times in the music that were reminiscent of Lester Bowie’s Brass Fantasy, as both groups not only obviously included the tuba in their instrumentation, but treated it as anything but within its traditional role of a supporting cast member or, simply, as a bass replacement. Much like Arthur Blythe’s tuba trio featuring Bob Stewart, Threadgill too has given his tubaist Jose Davila the room to roam (“Around My Goose” is a perfect example and tuba feature from Zooid’s very first recording).

For the first time during the evening, Threadgill picked up his alto sax, and with only a few lines, brought back some of the unforgettable moments he has set to record since his recording debut of ‘69 with Muhal Richard Abrams. Not to be found were cliches, quotes from standards, resorted to bebop lines, or anything of the like--just pure Threadgill! Influenced by some, having influenced many, and sounding like absolutely no one but himself, Threadgill is indeed an individual amongst proteges and clones. Interestingly, you don’t often hear of Threadgill-like comparisons amongst musicians, which is probably due to the fact of his absolute uniqueness. Like an Erroll Garner, and a mark of any true giant whose playing and compositions are without a doubt timeless, Threadgill certainly stands out from a crowd without even comparison.

From Threadgill’s alto, the plucking and bowing of Leong transitioned into the guitar of Ellman, who towards his solo’s end, placed his whole hand on the highest fret and strummed treble-like tabla beats while Leong beat the body of his cello. Regardless of whether his re-entry was mapped out on the sheet music he had written out or not, Threadgill quickly (and noticeably for the first time during the course of the set) uncontrollably rejoined the proceedings in an off-the-wall (or at least off the sheet music) type fashion. As if the audience let out a collective sigh of relief in response to the dismantling of the reins, joyous claps and room booming cheers greeted the eventual conclusion of the piece while the leader shined genuine smiles about the stage and room.

Prieto’s timbale-like sounding drum rolls started things off for the fifth and final tune. By the time Threadgill joined in, once again on alto sax, I realized that the similar time keeping of the Prieto’s drums had kept the oud impractically and consistently inaudible. Fortunately, I can vouch that the recording studio was more empathetic to Zooid’s mission in music. Live, however, the intricacies of the music were unfortunately drowned out by the all too heavy drumming and muddy tuba, especially in conjunction with the occasional not-so smooth and subtle cello single string note pops. Through the ending vamp, Zooid’s leader and creative center Threadgill introduced the band members, ironically inaudible, before leaving them and the audience after exactly an hour-long set of music. Admittedly, we were all hoping for more.

If this group can not only stay together for a time but continue to rehearse if not perform live, it will certainly be interesting to hear them again in six to twelve months time and see how much looser they become, especially after they have become more familiar with Threadgill’s material. The band may even need another veteran voice with either a percussionist or at least a more subtle style of drumming to make way for the stringed instruments, or at least just a sympathetic sound person during the live sessions. Strangely, Threadgill tends to prefer percussion-heavy compositions, lending itself in this case much more successfully to the recording studio than stage, though.

As for the recording, which again is due out officially on November 13th (coinciding, not so coincidentally, with a new Threadgill Make A Move project on Pi Records entitled, Everybody’s Mouth’s A Book), there seems to be several linking elements that recur throughout the recording. For one, the three stringed instruments of acoustic guitar, oud, and cello interchange multiple parts as one (“Dark Black”). Also there seems to be an obvious common thread between several tunes throughout the recording, such as with “Dark Black” and “Calm Down”. The intention is not necessarily so obvious as the song titles give no specific inclination as to whether this was purposely created or not. From beginning to end, though, there are no weak links compositionally or otherwise, as this recording is certain to stand the test of time and particularly introduce to a much larger audience (and deservedly so) the talent of guitarist, Liberty Ellman who is heard to great advantage throughout.

Threadgill is featured on alto sax for three of the seven tunes, and flute for the remainder of the session. The first track, “Tickled Pink”, with the leader on the wind instrument, features a brief but very effective guitar solo with the dynamics of the deep tuba heard to great advantage. From plucking to bowing, Leong’s cello accompaniment in the background is superb, almost serving as a second guitarist at times. Prieto’s drums serve a similar role to what Pheeroan AkLaff contributed to Threadgill’s Air. Ellman returns with some unfinished business playing lines that would make guitarist and String Trio of New York co-founder, James Emery, proud. It should be mentioned that Ellman solely plays the acoustic throughout the new Threadgill project, much in the same way Emery focuses on the acoustic.

“Dark Black” initiates this aforementioned underlying theme which is revisited several times throughout this recording, with Threadgill’s alto sax and the beat provided by Prieto bringing the listener back to this comfort zone of sorts on several occasions. Featuring Leong to great advantage, this piece in particular shows off his talent of bowing and plucking as if he were working steadily between two separate instruments. Thankfully, the underlying and booming lower end of Davila’s tuba is heard to much greater advantage in the mix of the recording versus the live concert performed at the Knitting Factory.

The intense and urgent tone of Threadgill’s flute can be found on “Look”. As is the case throughout this new recording, Threadgill’s solos seem to be more hints than actual ventures in themselves. His supporting cast weaves notes and sounds incessantly around him during his flights of fancy, and as a unit the adventure is taken.

With Threadgill on alto sax, “Around My Goose” begins with a slow start leading into an Albert Mangelsdorff-like solo on the deep brassy tuba. Davila plays unaccompanied, utilizing his voice to provide occasional undertones to sustained notes. Ellman cautiously complements some select notes from his guitar before Threadgill in ballad-like fashion enters. A welcome change of pace with even Prieto consciously accompanying in a mild-stated manner versus the beat driven tendencies the other Threadgill compositions tend to call for. Threadgill and Ellman echo one another in a give and take fashion with Ellman, once again, being very selective with what notes and how many notes to subtly and most effectively contribute. Meanwhile, hints of that underlying theme seep into the piece from a distance.

“Calm Down” more distinctly starts right off with this aforementioned theme of Threadgill’s alto and Prieto’s style of accompaniment. Prieto throws quick exclamation points to Threadgill’s repeated runs and gaps, revealing one quite obvious and central significant element to this Zooid project. The players consciously never step in one another’s way, collectively but not simultaneously filling spaces as they present themselves in the music. Though the music is seemingly quite complex with not much space to speak of, it is very common that from one cluster of potential space to another, a different instrument takes the responsibility of finding out what cluster of space is most appropriate for that respective musician to be responsible for and so on.

A belated feature for the Middle Eastern oud of Benbrahim’s can be found on the next to last tune, “Did You See That”. From the simple brush accompaniment by Prieto, to the warm flute of Threadgill, Ellman can be found complementing with the simultaneously and delicately played notes of his guitar. The oud is eventually given a dark backdrop by the tuba, breathily played by Davila, as well as a chamber cello feel from Leong. Ellman then inherits that backdrop for his own, playing a simple yet hauntingly beautiful brief solo, which is then transferred over to Threadgill. Veering aside from the high notes and extreme register of the wind instrument he ends his solo on several sustained notes that quiver in bird-like fashion. The group then collectively maintains the feel of the piece, exploiting all its parts to great advantage with Threadgill’s flute eventually leading solely into the oblivion of the end of the tune.

The final tune, “Do the Needful”, perks the pace up once again awkwardly enough as the album’s official closer. The underlying theme and melody is given a bit of a twist with interchanging notes under a continuous beat. Threadgill is once again heard to great advantage on alto sax. Davila plays his more traditional role of supplying the occasional bass note blurts while Threadgill borders on an intense screeching tone, though always under control. Ellman’s solo repeats hit notes with a slight variation in the bending of strings and with his heavier-then-softer touch. Leong’s high cello notes then bring the ending to a basic fade.

One thing that’s for certain is that Threadgill, during and now after his major record label projects at Columbia, will not only never fade but refuses to compromise. Threadgill is not only an original at heart, but also by his proven ability and track record as player, composer, and bandleader. He makes it quite clear, however, that this project is not about any specific individual, but rather about the group of individuals which should be treated as one, as Zooid.

And remember, keep your ears open to the music!