Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

291

Ian Dogole and Hemispheres: Crossroads

Raul d'Gama Rose By

Sign in to view read count
Ian Dogole is a percussionist of considerable skill, character, invention and individuality. This ensemble that he has put together—Hemispheres—might otherwise be passed over as just another world fusion group. It is also graced by multi-reed artist Paul McCandless, who just happens to be co-founder of the legendary band, Oregon. The uniqueness of Crossroads is further evidence that Dogole has stamped this ensemble to a large extent with his individualism. This is also a kind of counterbalance for McCandless, who cannot help bringing the gravitas of that breathtaking Oregonian sound to the group. Further counterpoint is, of course, provided by clever addition of the second reedman, Sheldon Brown and Frank Martin's expansive, filigreed work on the piano. All this makes for a rather unusual record.

Hemispheres undulates with the sound of myriad interesting roots. There is a gentle modal swing reminiscent of John Coltrane, and the music of the ensemble weaves in and out of harmonic invention that recalls a certain classical as well as folksy/ bluesy influence. This latter inflection is not unlike Bela Bartok's approach to the melding of those elements in his late-period work. But throughout the absorbing aural expedition, the music never loses its swaying linear charm. There are original compositions from Dogole, Sheldon Brown and also two classic re-castings: one, fellow Oregon co-founder Ralph Towner's "The Glide"; and two, McCandless' "Spirits of Another Sort." The group also deconstructs the late Woody Shaw's "Katrina Ballerina," while Dogole's gently sonorous "Intro to Katrina" breathes new life into Shaw's original track.

"The Glide" and "Spirits of Another Sort" are refreshing, and although it might be hard not to imagine the Oregon originals, both Dogole's ingenious percussion and Sheldon Brown's reed work are the key reasons why these tracks are a thrill to hear again. Brown also emerges as a skillful composer; on his "Fathers and Sons," the loping melodic lines bring the narrative of the song to an emotionally-charged conclusion, but not before Martin and Dogole weave an intricate path for McCandless' English horn and Brown's reeds to undulate through the song's middle passage. Dogole's other track, a feature for an unusual steel-pan-like instrument called the "hang," marks his ability to lighten the colors of a song with the mere tapping of bare hands.

The final track blends well with the other music of the record, while also standing on its own. "Zarbi," written by Iranian musician Hossein Alizadeh, is the only live track. It features echoing, floating vocals and Sufi lyrics, as well as additional percussion on a folk drum from the Mid-East, the tombak. The bass clarinets of the two reed players and Bill Douglass' steady ostinato bass in this ethereal 5/4 track leave its melody in memory long after the final notes fade. What an eerily haunting way to close the record.

Track Listing: The Glide; Fathers and Sons; Golden Heart/Guiding Spirit; Intro to Katrina; Katrina Ballerina; Spirits of Another Sort; Running Shadows; Mirror Images; Zarbi.

Personnel: Ian Dogole: cajon (1, 5, 7), dumbek (2, 9), cymbals (1, 2, 5, 6), splash cymbal (1, 7, 9); global drum set (3), kalimba (4), hang (8); Sheldon Brown: clarinet (2, 6, 9), bass clarinet (9), piccolo (7), soprano saxophone (2, 3, 5), tenor saxophone (1); Bill Douglass: double-bass; Frank Martin: piano; Paul McCandless: soprano saxophone (1, 2, 7, 9), English horn (2, 6), bass clarinet (3, 5, 9); Hossein Massoudi: vocals, tombak (9).

Title: Crossroads | Year Released: 2009 | Record Label: Sunnyside Records

Tags

comments powered by Disqus

Shop Music & Tickets

Click any of the store links below and you'll support All About Jazz in the process. Learn how.

Date Detail Price
Feb12Tue
8:00 pm
Ancient Future
Freight and Salvage Coffeehouse
Berkeley, CA
$20

Related Articles

Read Without You CD/LP/Track Review
Without You
by Dan Bilawsky
Published: December 19, 2018
Read Internal Combustion CD/LP/Track Review
Internal Combustion
by Dan McClenaghan
Published: December 19, 2018
Read Chant Triptych II CD/LP/Track Review
Chant Triptych II
by Mark Sullivan
Published: December 19, 2018
Read Oasis CD/LP/Track Review
Oasis
by Mike Jurkovic
Published: December 19, 2018
Read Les Oiseaux de Matisse CD/LP/Track Review
Les Oiseaux de Matisse
by Glenn Astarita
Published: December 19, 2018
Read Drum Solos For Dancers Only CD/LP/Track Review
Drum Solos For Dancers Only
by David A. Orthmann
Published: December 18, 2018
Read "Romaria" CD/LP/Track Review Romaria
by Geno Thackara
Published: February 18, 2018
Read "Suite 150 / A Big Band Portrait" CD/LP/Track Review Suite 150 / A Big Band Portrait
by Jack Bowers
Published: August 16, 2018
Read "Fundur" CD/LP/Track Review Fundur
by Mike Jurkovic
Published: November 23, 2018
Read "Like A Fire That Consumes All Before It" CD/LP/Track Review Like A Fire That Consumes All Before It
by Mark Sullivan
Published: December 11, 2018
Read "Walk The Walk" CD/LP/Track Review Walk The Walk
by Mark Sullivan
Published: May 21, 2018
Read "IMA IMA" CD/LP/Track Review IMA IMA
by Dan Bilawsky
Published: June 18, 2018