By Glenn Astarita

Tenor saxophonist Ellery Eskelin is no stranger to serious advocates of modern jazz and is perhaps among a handful or select few of relatively young jazz artists who are reformulating jazz concepts into a refreshingly new medium, as we approach the millennium. - Recently, Down Beat Magazine cited Eskelin among the 25 most important "under-forty" musicians in jazz.

A conspicuous jazz ambassador, who frequently tours the globe, Eskelin continues to pursue previously uncharted territories while possessing remarkable technique and a distinguishable, deeply personalized style. Eskelin’s distinct approach to the tenor sax draws upon inspiration from the grand masters of yore which is evident on his 1996 “Soul Note Records” tribute to the late Gene Ammons titled, The Sun Died. Here, Eskelin along with drummer Kenny Wollesen and guitarist Marc Ribot turn in a fitting and luminous homage to the hard hitting and soulful post-bop saxophonist Gene Ammons. Eskelin’s enterprising and exploratory adventures were also evident on three releases, recorded for the “JMT”, “New World CounterCurrents” and “Avant” record labels, led by the highly acclaimed drummer Joey Baron . A bass-less Trio, Eskelin along with trombonist Steve Swell and Baron were playfully melding the avant-garde with down home folksy and spirited jazz-blues idioms, as these recordings were critically praised. Ellery Eskelin’s creative juices and estimable talents can also be heard on bassist Mark Helias’ 1998 outing titled, Fictionary recorded on Gunther Schuller’s “GM Recordings” label. Here, Eskelin and violinist Mark Feldman trade some of the most viscous and heart-rendering soloing you will likely hear in jazz. Another fairly recent release of note finds Eskelin once again performing with Mark Helias and the gifted drummer, Tom Rainey under the moniker “Open Loose”. Titled, Come Ahead Back and released in 1998 for the “Koch” jazz label, the Trio swing and skirt the fringes of free-jazz led by Eskelin’s fervent, gutsy, fleet-fingered and altogether explosive tenor sax work. Eskelin can also be heard on drummer Gerry Hemingway’s fine 1998 release, Johnny’s Corner Song which is an intriguing live set recorded for the “Auricle Records” label.

Eskelin’s individualistic and thoroughly non-conforming ways came to the forefront with a notable and critically praised mid 90’s release on the “Songlines” label, titled “Jazz Trash”. This band featuring wunderkind drummer Jim Black and accordionist - sampler expert, Andrea Parkins sowed the seeds for the advent of his the current working unit who have found a home with Swiss-based Hatology records. Here, no one gloms the spotlight as Eskelin performs with his peers while everyone gets ample room to show their respective goods in what has rapidly become one of the most amazingly original, penetrating and dare we say......”cutting edge” units in the business. With that, we take an in-depth look at Ellery Eskelin’s integral contributions to this quite prolific band, and how three distinctly unique voices converge and inadvertently add new subject matter to the ever-evolving face of modern jazz.

* (For additional information, e.g.; Biography, Discography, Articles – please check Ellery Eskelin’s website: http://home.earthlink.net/~eskelin/ - as we also look forward to Eskelin’s upcoming diary of his current European tour, which will be published here on “All About Jazz” in the January 1st 2000 issue)

See All About Jazz contributor Allen Huotari’s thoroughly intriguing interview with Ellery Eskelin at: http://www.allaboutjazz.com/iviews/EEskelin.htm

Released in November ’99, Five Other Pieces (+2) is perhaps Eskelin’s crowning achievement thus far and what a better way to begin the proceedings than to cover John Mclaughlin’s fusion classic “The Dance of Maya”. Eskelin states in the liners ”I’ve always wanted to have a band that could play this. Now, twenty five years later, I’ve got one”. On this piece, Eskelin, Parkins and Black offer the listener a sense of implied urgency as this affair ignites in a hurry. Originally performed by “The Mahavishnu Orchestra”, the band advance this arrangement into a hard-edged and downright nasty blues motif, as Ms Parkins’ cunning accordion performance adds an otherworldly dimension to this composition while the group’s overall sound becomes bold and unyielding. Here, Eskelin performs with conviction and tenacity without sacrificing the recurring theme and melody atop Jim Black’s firm, well-pronounced pulse. Following “The Dance of Maya” and while the listener may now need a prescription in order to reduce high blood pressure or ease the flow of adrenaline, the band fire back with a stunning rendition of Bop pioneer, Lennie Tristano’s composition titled, “April”. On this piece, Eskelin’s stunningly beautiful introductory tenor sax solo is literally poetry in motion and would make most students of the tenor sax, cringe with delight and awe. Eskelin is ablaze with fluid razor shop Bop lines, while exhibiting an inordinate amount of control along with intuitive yet dashingly modern free-bop interplay between accordionist Andrea Parkins and Eskelin who trade fours amid various motifs. Of special note is Jim Black’s swashbuckling approach to drumming as he pays a bit of homage to masters such as Gene Krupa while utilizing his heavy low pitched bass drum in unison with his deft brush work on the snare. Young Jim Black has carved out an easily identifiable niche for himself as one of the premier drummers on the jazz-planet who possesses a finely honed, signature style. The opening sequence to John Coltrane's modern classic “India” features Andrea Parkins’ slick commingling of grand piano and Hammond B-3 midi patches or samples that conjure up an eerie or mysterious aura which subsequently enlivens the quasi-spiritual or exotic connotations of this piece. We might add that Ms Parkins is an established and much acclaimed solo artist witnessed by her innovative work on “Knitting Factory Records”, and needless to state – a vital and most important contributor to this band. Through all of its airiness and ambiance, Trane’s “India” evolves into a multifaceted series of rhythmic explorations by Black who injects odd-metered and slightly funk-orientated structures and passages as Eskelin restates the familiar theme through pronounced choruses. Invention and an appealing stylistic approach come to the forefront here and throughout as this band while obviously enjoying themselves also institute a bundle of astonishing twists and turns while the listener gasps in wonderment!

The group cast yet another bag of tricks into this seemingly unlikely mix with a hearkening rendition of bassist Charlie Haden’s “Song for Che” which is culled from Haden’s now legendary 1969 “Liberation Music Orchestra” LP. Here, they seize LMO’s sense of bravado and suspense via Eskelin’s emotive performances on tenor sax featuring a pensive and somewhat kaleidoscopic bridge. The band turn in a soulful if not enigmatic version of Gershwin’s “Prelude II” as Ms Parkins creates somewhat of an abstract French-cabaret style atmosphere via an intelligible methodology as a skilled practitioner of the accordion and piano. Eskelin’s composition, “Cause and Effect” features an abundance of group dialogue as Ms Parkins performs the bass part which adds bounce and gusto to the various movements that evolve, gain momentum then disappear. Eskelin is an extremely intelligent composer as the band converge, contemplate disparate themes, employ African rhythms and work matters out as though they were collectively composing a short story via lucid imagery. On “Cause and Effect”, Eskelin whips his tenor sax into a frenzy through meticulous, rapid-fire and somewhat brooding phrasing while making every note count leaving an ineffaceable impression on the listener. The final track, Eskelin’s “Ways and Means” clocks in at seventeen minutes as the band take you on a winding road through dissimilar passages accented by Ms Parkins’ enticing representation of the recurring melody line performed on piano. Other highlights are Jim Black’s polyrhythmic, quick-witted drum solo and Eskelin’s enticing yet highly technical and difficult circular breathing passages.

Simply stated, Five Other Pieces (+2) is an exceptional showing from this band who perform on the bleeding edge of the jazz spectrum as they consequently set themselves apart from the rest. - A truly irresistible rendezvous with three musicians who are making a big difference; hence, a true power Triumvirate for the modern jazz age! An eventful outing and easily one of the top picks for 1999! * * * * *

Personnel: Ellery Eskelin; Tenor Saxophone: Andrea Parkins; Accordion & Sampler: Jim Black; Percussion. Produced by Werner X. Uehlinger

All compositions by Ellery Eskelin except: “The Dance of Maya” (John McLaughlin), “April” (Lennie Tristano), “India” (John Coltrane), “Song For Che’ (Charlie Haden) and “Prelude II” (George Gershwin)

Hatology website: www.hathut.com

Ellery Eskelin’s other 1999 release for Hatology is a series of duets with Dutch-based yet internationally recognized master drummer, Han Bennink. On Dissonant Characters Eskelin and Bennink display sharp-witted creativity through ten pieces, commencing with “Flutter”. Here, Eskelin’s phrasing seemingly adheres closely to the title, as he performs fierce soulful and at times playful lines along with Bennink’s often polyrhythmic yet swinging approach. – You would swear there are two drummers launching the attack! The title track, “Dissonant Characters” pretty much says it all as the duo engage in abstract and highly conversational interplay. Bennink is on fire here, as he ruminates ideas in furious and somewhat maniacal fashion. Again, we are treated to some startlingly viscous soloing by Eskelin coupled with instantaneous on-the-fly improvisation by both. A perfect match, as Bennink is no stranger to duet settings, which is also evident on his splendid recording with Swiss pianist Irene Schweizer, reviewed on AAJ in Oct ’99.

The piece titled, “Bud + Shake” finds Eskelin digging deep into his arsenal while emitting steely edged, gritty lines atop Bennink’s turbo-charged pulse and fluctuating tempo as the duo also perform raw and earthy versions of Monk’s “Sight Unseen/Brilliant Corners”. Here, the gentlemen deconstruct Monk’s odd-metered choruses and off beat rhythms as they get to the bottom of things rather quickly with foot stomping, finger snapping motifs – then, it’s off to the races! The duo also perform a straightforward and quite emphatic rendition of Monk’s “Let’s Cool One”. Bennink commences with a devastating drum solo on the piece titled, “Pro Tanto” which evolves into a rapid-meter Bop-pulse while Eskelin mirrors Bennink’s rhythmic permutations with circular and variegated passages as this recording comes to a rather explosive end.

The old saying, which goes something like, “nowhere to run, nowhere to hide” applies here. Few “twosomes” can pull off such a multifaceted, witty, captivating and highly entertaining series of duets while maintaining the listener’s interest throughout. Dissonant Characters is a sparkling exhibition from this mini coalition of two modern day jazz champions... * * * *

Personnel: Ellery Eskelin; Tenor Saxophone: Han Bennink; Drums. Produced by Pia and Werner X. Uehlinger.

All compositions by Eskelin & Bennink except: “Sight Unseen/Brilliant Corners” & “Let’s Cool One” by Thelonius Monk.

Hatology website: www.hathut.com

Kulak 29 & 30 is the second Hatology release from the Eskelin, Parkins and Black band, the first being the powerful, artfully rambunctious and borderline free-jazz outing titled, One Great Day which was issued in 1997.

On Kulak 29 & 30, the band begin with a slightly rollicking and rolling or better yet - mutant roadhouse organ Trio motif on the composition titled, “Departure”. Here, Jim Black establishes a solid backbeat atop Andrea Parkins’ scintillating Hammond B-3 organ samples while Eskelin is a human flame-thrower, emitting gutsy, vigorous and clear-toned lines as if his life depended on it! “Rhyme or Reason” features more delightfully punchy Hammond B-3 choruses from Andrea Parkins’ underneath Eskelin’s bluesy yet heated phrasing and acute sense of dynamics. Subsequently, the band evoke a large and expansive sound of a climactic nature as the band intermingle blues and rock with a dose of surrealism thanks to Ms Parkins’ skillful and creative utilization of the sampler as the sky is the limit for these folks.....Throughout, these musicians concurrently investigate vertical and horizontal movement while producing gobs of impact. The composition titled, “Organum” moves about as a free-style, highly conversational vehicle featuring a beguiling and shrewdly crafted solo by Eskelin. Jim Black pursues a hodgepodge of rhythmic ideas on the intensely climactic “Visionary of the Week”, as he keeps the fire lit amid Eskelin’s frantic and spurious activities while Ms Parkins is the colorist performing on accordion. The final piece, “Expubidence” is a Free-Bop style excursion with cool yet buoyant lines along with effective organ work from Ms Parkins. All in all, a most satisfying set as this band are well on their way to establishing a unique identity and a most promising future in jazz.

Kulak 29 & 30 is an exquisitely expressive work yet besides the serious-mindedness, subtle intricacies and complexities behind the music, the band offer a strikingly entertaining mix, which unto itself speaks encyclopedic volumes. In summary, Eskelin, Parkins and Black convey an incomparable yet extremely palatable conceptual approach that offers the optimum in modern jazz entertainment! * * * * 1/2

Personnel: Ellery Eskelin; Tenor Saxophone: Andrea Parkins; Accordion & Sampler: Jim Black; Percussion. Produced by Pia and Werner X. Uehlinger.

Hatology website; www.hathut.com