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This outwardly simple and uncomplicated trio recording by L.A. Jenkins matches three improvisers with almost identical musical visions. The guitarist collaborates with saxophonist Hasan Abdur-Razzaq and drummer Adam Smith. Both partners are versed in the exploratory music of Sun Ra, Albert Ayler, and Pharoah Sanders. And both are members of The Wizards, a quartet that mines the cosmic and free jazz landscapes of the 1960s and 70s.
Jenkins, a student of Ornette Coleman's harmolodics, has developed a sound that is part Bern Nix and part Bill Frisell, but is also crafted and original. His explorations begin with freely improvised sound that coagulates into imperturbable sonic structures that are informed by patient and stoical music leanings. His previous release was Clarity of the Peculiar (Edgetone, 2012).
Intrusion carefully wraps its free jazz in a blanket of gentle sound. Jenkins prefers to mask his improvisations with a cover of ambient sound. Explosions are eschewed as the trio blows waves of saxophone & bass clarinet over cymbals. Jenkins' sound is delivered much like Bill Frisell's guitar when he was the choice of drummer Paul Motian in the 1980s. Each piece here tip-toes into consciousness. Even the extroverted Ayler-sound of Abdur- Razzaq's saxophone on "Second Light" toes the line of this session. Things never get noisy, even when the music opens up on "Cohesion @ The Parallel Universe" and "Final Flight." The latter piece finds Abdur-Razzaq taking up the cello to balance Jenkins' probing gestures and Smith's rumbling guidance. The music here is the equivalent of a polished gem with multi- facets. Quite the discovery.
Track Listing: Intrusion; Constellation; Second Light; Invocation; Cohesion @ The Parallel Universe;
Cascading Singularities; Matrix Of Investigation; Syncopated March Through Neb’uland; Linear
Perceptions; Final Flight.
Personnel: Hasan Abdur-Razzaq: reeds, cello, percussion; L.A. Jenkins: guitar; Adam Smith: drums,
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...