Connie Crothers is one of the most versatile pianists on a scene that is so often mislabeled free jazz. Her pianism has been cultivated through long years of study and deep listening, evident in each tone, chord and gesture. Overwhelming intensity, at whatever volume, is juxtaposed with transparent beauty in a style that is as unique as it is unpredictable.
Crothers has the perfect partner in clarinetist Bill Payne, with this disc of dialogues belying a long musical relationship, as evidenced by the moment in "Conversation no. 3" when Payne plays a two-note figure, immediately following which Crothers flourishes downward to land on Payne's E-flat. In fact, counterpoint is the duo's MO throughout. It opens "Conversation 4" and is even more rigorous in the tenth conversation. Crothers' Tristano association is made plain in the latter, but as the tenth track heats up, bluesy inflections and clusters pervade, leading to a surprisingly trilled ending from Payne. By contrast, there are the Messiaenic sonorities of "Conversation 12," with Payne beginning in lower registers and with such rhythmic freedom it almost sounds like a movement left out of "Quartet for the End of Time."
The duo's rhythmic diversity is stunning. "Conversation 1" finds them establishing motoric rhythms in variously shifting meters seemingly without effort. If several of the improvised pieces do, in fact, invoke the high-dynamics usually associated with Cecil Taylor, such concerns are momentary and they reflect only one facet of this duo's remarkable ability to communicate quickly and efficiently on many levels. This is improvised music at its finest.
Track Listing: Conversations 1-12.
Personnel: Connie Crothers: piano; Bill Payne: clarinet.
I love jazz because I was born and raised here in America, and it is one of the most significant cultural contributions we have given to the world. It is an incredibly sophisticated artform that continues to challenge boundaries while delighting and engaging listeners of all different ages and backgrounds
I love jazz because I was born and raised here in America, and it is one of the most significant cultural contributions we have given to the world. It is an incredibly sophisticated artform that continues to challenge boundaries while delighting and engaging listeners of all different ages and backgrounds. I love how jazz can involve musicians who may have never met each other can coming together and making incredible music by referring to the Great American Songbook and musicians who have been playing together for years, who have a deep connection and who explore and create original music that is at the cutting edge of musical innovation in every sense. Performing jazz music requires a virtuosity and technique that only strict discipline can teach as well as a spontaneity and playfulness that reflects the simple folk roots of the music.
I was first exposed to jazz as a student in college. Only knowing I wanted to play guitar, I enrolled in an applied music program that focused on Jazz rhythm section playing. The subsequent journey that I have been on since the time that I enrolled in that class has helped me grow not only as a musician but more so as a person.