By Glenn Astarita

Simply stated, Joe McPhee is one of the finest “improvisers” on the planet! A multi-instrumentalist, McPhee is equally adept and at ease whether performing on various woodwinds, electronic-instruments, trumpet or piano. In the late 60’s and early 70’s, McPhee established a strong relationship with Werner Uehlinger of Swiss based Hat Hut Records which was initially founded as a launching pad or vehicle to record McPhee’s music. A significant amount of credit should be awarded to Hat Hut – Hatology executive producer-visionary Werner Uehlinger who has afforded artists such as McPhee and many others, limitless opportunities to explore new directions in music, complimented by the now customary flawless audio engineering along with classy packaging. McPhee has since become one of the champion stylists in modern improvised music, centered around jazz theories and techniques actuated by his boundless enthusiasm and unwavering creative genius. Here, we take a look at McPhee’s recent releases on the CJR (Cadence Jazz Records – a division of CIMP), Hatology and CIMP labels along with fellow “master” improvisers bassist Dominic Duval and drummer Jay Rosen, a.k.a. “Trio X”. Creative Improvised Music Projects is a New York-based record label offering a bountiful catalogue of excellent recordings from those who are stretching the limitations and eliminating musical barriers while fashioning vastly new philosophies in modern improvised music. The folks at CIMP are also noted for their distinctive recording methodologies especially during “live” performances as they purvey “dynamics” or “dynamic ranges” that would mirror the actual experience of being there......

Recorded live at New York City’s “Knitting Factory”, - a haven for well established and up and coming improvisers, Rapture is “Trio X” featuring bassist Dominic Duval, drummer Jay Rosen and guest artist Rosie Hertlein who lends her voice and impressive violin skills to this most interesting project.

On Rapture, the Trio render a forty-seven minute version of James Weldon Johnson’s “Lift Every Voice and Sing” which as McPhee describes in the liners, is a “much honored – Negro National Hymn”. Here, the listener is treated to frantic dialogue between violinist Rosie Hertlein and bassist Dominic Duval as if they are celebrating a – rejuvenation of the spirit! This piece evolves as McPhee produces organic sounds from his tenor via jagged lines, half tones and phrasing that at times parallel his - blues roots. The musicians pursue fervid conversation through abstract passages as they scatter a hodgepodge of moods while displaying an intuitive approach, which signifies a common thread. Suffice to say – the listener is seldom allowed to become complacent as the band continue to pursue a bevy of themes and disparate motifs with varying degrees of intensity. Jay Rosen lashes out with a polyrhythmic drum solo as if he were waiting his turn to speak from the podium. Vivid imagery is at the forefront as a slice of Americana is examined through the fertile mouthpieces of four consummate musicians who most assuredly have a plan in place! “Lift Every Voice and Sing” closes out with a solemn passage heightened by McPhee’s heartfelt yet off-center phrasing which very effectively keeps the listener off guard – or perhaps, all the more curious.... Poetically expressive improvisation is the key and continues on the title track, “Rapture” which is a bit more introspective and probing featuring otherworldly connotations emanating from Rosen’s colorful utilization of cymbals, bells and small percussion instruments. Rapture is an exemplary exhibition of cooperative group-improv. Everyone gets a chance here yet the glowing synergy and sense of purpose prevails throughout as an idea or two spawns fulfillment – where something colossal evolves out of very little. Perhaps an omen or metaphor for success as dreams come to fruition. * * * * œ

Personnel: Joe McPhee; Sax: Jay Rosen; Drums, Percussion: Dominic Duval; Bass, Live Electronics: Rosie Hertlein; Violin, Voice.

(Cadence Jazz Records) For more information/ordering on this release, check the Cadence website: www.cadencebuilding.com

McPhee and Dominic Duval settle down a bit on the duo set titled, The Dream Book as the proceedings take off with an eighteen minute tribute to saxophonist Dewey Redman titled, “Dance of the Reasons Why”. On this piece McPhee’s angular and multi-tonal phrasing in conjunction with strong doses of linear development works wonders with Duval’s pumping and dexterous performances on the “Hutchins” Bass as the duo embark on a lightly swinging motif via a multidimensional attack. Here the musicians slam it into cruise control, as the listener should easily detect Dewey Redman’s presence through McPhee’s soulful extrapolations on alto saxophone, as he acknowledges Redman’s importance and voluminous contributions to modern jazz. “Old Eyes” is dedicated to Ornette Coleman as Duval adds a bit of tension through his invigorating and somewhat undulating performance on arco-bass. Here, McPhee displays his altogether gorgeous alto saxophone tone along with bluesy, heartfelt phrasing as this piece is somewhat of a solemn or introspective tribute to the legendary Coleman....”Celebration is a brief two-minute McPhee pocket trumpet solo dedicated to the late Don Cherry. On The Dream Book McPhee and Duval render inspiring performances as if they were on a mission from above.....The synergy, adaptation of themes and balanced approach makes for an enticing listening experience – a manifestation of various concepts played through the heart as the duo succeed at capturing the listener’s attention - sustaining interest throughout. * * * *

Personnel: Joe McPhee; Alto Saxophone & Pocket Trumpet: Dominic Duval; Hutchins Bass

(Cadence Jazz Records) For more information/ordering on this release, check the Cadence website: www.cadencebuilding.com

Joe McPhee’s 1998 recording for “Hatology”, As Serious As Your Life is a title borrowed from noted journalist Valerie Wilmer’s book, of the same name. On this recording, McPhee goes it alone while employing various instruments including, drum sequencers, electronic keyboards along with woodwind instruments and the pocket trumpet. Here, McPhee celebrates the twentieth anniversary of his first solo release, and now legendary recording titled, “Tenor”. - Rumor has it that this mid-70’s recording is due to be reissued on CD.

On As Serious As Your Life McPhee performs a series of mini-tributes to those who have left a lasting impression on his musical beginnings, maturation as an artist or perhaps life in general. The proceedings commence with the piece, “The Death Of Miles Davis” featuring McPhee’s somewhat serrated and fragmented lines on pocket trumpet as he implements blurry yet raspy-throated phrasing perhaps conveying Miles’ transformation to the spirit world. On this composition, McPhee paints picture perfect imagery while echoing Miles’ mystique or persona through faint, abstract expressionism.... “Haiku Study 1” features McPhee multi-tracking pocket trumpet and soprano saxophone while producing simple, understated and at times, alternating themes as he generates lightly swinging and congenial motifs of various flavors. McPhee proclaims in the liners that the composition titled, “Conlon In The Land Of Ra” is an imaginary meeting between Conlon Nancarrow and Sun Ra. Imagine!” Here, McPhee multi-tracks his electronic keyboard while displaying acute sensibilities for utilizing space and depth as he parallels the “minimalist” movement with distinct block chords and long “rests” often giving way to manic free-jazz statements through surging chord progressions. McPhee continues his ingenious assault with a truly mesmerizing translation of Gershwin’s “The Man I Love”, as he offsets the familiar melody line with quick-witted, razor sharp phrasing atop recurrent or cyclic rhythms produced by a programmable drum sequencer. McPhee retains the melodic aspects of this composition yet readapts the structural components via animated lines, rapid evolvement, verve and tenacity. Joe McPhee is a musician who can churn out the sweetest ballad or tone poem imaginable which is evident on his rendition of Coltrane’s “After The Rain” while displaying fury and subtle intricacies on the tracks, titled “As Serious As Your Life 1 & 2”.

A true Renaissance man for the “new jazz” age, McPhee displays his resilience and boundless enthusiasm along with an abundance of inner resources. As Serious As Your Life is guaranteed to leave a lasting impression. A moving portrait of a musician who possesses a pioneering spirit! – One of Joe McPhee’s finest musical statements to date!....... * * * * *

Joe McPhee: Reeds, Pocket Trumpet, Piano, and Electronics.

Hatology/Hat Hut website: www.hathut.com

On The Watermelon Suite which was recorded live at “The Spirit Room”, Rossie, NY in May 1998 - McPhee performs solely on the soprano sax and features bassist Dominic Duval and drummer/percussionist Jay Rosen of the “Trio X” band. The multi-part “The Watermelon Suite” commences as a series of duet improvisations between McPhee and Duval as they paint a pastiche consisting of shifting moods through implied meter, fertile dialogue and circular passages while exploring counter melody and dissimilar tones. On the pieces titled, “Wecotdo Part 1 & 2”, Jay Rosen utilizes his array of cymbals, bells, woodblocks and drums while setting the stage for McPhee and Duval who deliver fervent or emotionally stated themes of a disruptive or – pleasantly chaotic nature. Here, the trio sound as though they were “musically” discussing a forbidden or “touchy” subject. The piece titled, “Solero” is an ode to the late West Coast saxophonist Glenn Spearman. Here, McPhee invokes sweet lyricism atop African style rhythms while “Putter Piece” is playfully frantic or rambunctious as they close this set with a swinging yet at times pensive version of the standard, “My Funny Valentine”. All in all, The Watermelon Suite is yet another stylistic and quite captivating effort from this - magical band of master improvisers! * * * *

Personnel: Joe McPhee; Soprano Sax: Dominic Duval; Bass, Hutchins Bass: Jay Rosen; Drums, Percussion

* For additional information on McPhee’s recorded legacy you may want to check the Hat Hut/Hatology website (www.hathut.com). You can also find information on Joe McPhee through the All Music Guide although the “online” discography seems a bit incomplete or not up to date while Cadence (www.cadencebuilding.com) has a complete listing of McPhee, Duval and Rosen'’s recordings on the CJR and CIMP labels. Duval and Rosen have also recorded for Leo Records, GM Recordings among others.