Dave Burrell Trio
Crosscurrent 3 Festival
New York, NY
September 10, 2011
For its third annual edition, Crosscurrent moved the festival from its home in Botticino, Italy to New York City. Following the sonic delights of the Vision Festival in June, Crosscurrent 3 offered an additional array of creative music ensembles led by Wadada Leo Smith
, Dave Burrell
, Wayne Horvitz
, Taylor Ho Bynum
and Joe McPhee
Dave Burrell has long been a favorite pianist for his remarkable ability to play across stylistic boundaries in jazz. After graduating from Berklee College of Music in 1965 with a degree in composition, arranging and performance, Burrell dedicated himself to the pursuit of creative music that combines his dual talents as composer and free jazz improviser, performing alongside artists such as Marion Brown
, Archie Shepp
, Pharoah Sanders
and David Murray
. Few pianists have so successfully and consistently performed improvised music containing influences ranging from Jelly Roll Morton
, Thelonious Monk
and Duke Ellington
to classical composers such as Puccinisee Burrell's LP, La Vie de Boheme
(BYG/Get Back Records, 1969) and a Leonard Bernstein
trio LP, High Won-High Two
(Douglas/Black Lion, 1968) with Sirone
and Sunny Murray
. His predecessor, pianist Jaki Byard
was similarly able to seamlessly employ the entire history of jazz in a single solo with Charles Mingus
' 1964 sextet.
The trio performed five of Burrell's compositions in a seventy-five minute set. They played so well together and the arrangements were so intuitive, displaying an air of casual familiarity and relaxed interplay, that there was no clue this was a premier performance organized exclusively for the festival.
Burrell announced the first tune, "Black Robert," dedicated to a street hustler from Harlem in the '60's. Sounding somewhat like a Kurt Weill show tune, Steve Swell
played the subtly stated theme on muted trombone over a march-like tempo, then moved into an extended, swinging blues-inflected solo sustained by an acute ear for melodic invention. The trombone and bass dropped out to allow the pianist a short, incisive solo. Swell and bassist Michael Formanek
re-entered as Burrell subtly restated the theme which led to a bass solo. Formanek's sound was woody, supple and well balanced throughout the range of his instrument, while his melodic and rhythmic inventions morphed without pause into collective trio improvisation. Burrell, a master of consonant dissonance (or dissonant consonance?) played in the upper register, quickly switching to low-keyed rumblingsthen turned to his trademark syncopated stabbing, left hand leaping over right-handed, rolling knuckle clusters, followed by both hands playing independently at extreme registers, and concluded with a beautifully stated rhythmic motif extracted from the main theme, re-harmonized with dashing, non-tonal chord structures.
For the second tune, "Downfall," Burrell explained to the audience, "We're giving this one up to Steve's mastery because in rehearsal, Steve started playing and our jaws just droppedwe couldn't even get in on the tune!" "Downfall" opened with long glissando bass notes, Formanek's tone articulated and clear. Swell's playing lived up to Burrell's gracious introduction as he used a variety of dynamics and layered rhythmic intensities, adding perfectly executed high notes and "altered techniques." Burrell jumped in with a quote from the Neopolitan song, "Funicoli, Funicola"a nod perhaps to the Italian Crosscurrent festival? and delivered a solo that was both free and motivic, atonal yet with completely coherent, organized ideas. Restating the single-tone theme, Burrell then dropped out for a bone/bass duet. Formanek picked up Burrell's rhythmic motif and developed it with double-stops through multiple transpositions, the time shifting easily, becoming pensive and minimalist. Another collective improv, and Burrell played the theme again over long bass glissandos. This is free jazz that doesn't eschew melody, rhythm or harmony. Afterwards Dave commented to the audience, " 'Downfall' started off as a tribute to the World Trade Towers, but then Leena Conquest
sang it and it suddenly had sex appeal!"