Karen Borca: Good News Blues

Pioneering jazz bassoonist Karen Borca has had to wait a long time for her leadership debut. It arrives courtesy of the adventurous Lithuanian NoBusiness imprint, compiled from archival recordings of two appearances at New York City's fabled Vision Festival. But that is not to say that she does not have a weighty resume. An acolyte of Cecil Taylor, she played in his college ensembles at both Antioch and Wisconsin in the early 1970s. Through the pianist she also met alto saxophonist Jimmy Lyons who later became her life partner and a player in many of the bands in which she also appeared. She remains active in NYC following his demise in 1986, though with a lower profile.

In the same way that it only became clear after his death what Lyons brought to Taylor's music, Borca's contribution to the music of Lyons perhaps becomes clearer now. Her complex lengthy themes subtend improvisations that unfurl like elongated banners streaming in the wind, offering building blocks to reinvigorate and redirect the subsequent invention, reflecting a classicist's approach to form. Not much of her classical training remains in her playing as she adopts a buzzing timbre with an expressive throaty edge, punctuated by beseeching cries which slice through the ensembles.

With her backstory, it is little wonder that she recruits such illustrious colleagues for the performances included here. The first three numbers stem from 1998, and feature a rotating cast, with the propulsive rhythmic flow of fellow Taylor alumnus bassist William Parker the only ever-present. On the title track, Borca fronts a trio, completed by drummer Paul Murphy, another from Lyons' orbit, whose solo betrays an almost architectural sensibility. He is replaced on the next two cuts by Susie Ibarra, fresh from David S. Ware's celebrated quartet, who offers yet more embellishment and interaction with the soloists.

However the most notable change is the addition of alto saxophonist Rob Brown who acts as a potent foil to Borca. His stream of continual new ideas, co-opting piercing split tones and harrowing yells, somewhat overshadows the bassoon, even when handled by someone as agile as Borca. Both excel in the standout "Cambiar," and also in the two-part "45 Hours / New Piece" from the 2005 edition of the festival. Joining the pair here are the twin bass thicket of Reggie Workman and Todd Nicholson, along with the chattering drums of Newman Taylor Baker. It represents yet another reason why Borca's conception merits a long overdue listen.