Roswell Rudd: New York Art Quartet & New York Eye and Ear Control


Sign in to view read count

New York Art Quartet
New York Art Quartet
ESP Disk

Artist #2
Album Title #2
ESP Disk

Trombonist Roswell Rudd seemed to enter jazz from the past and the future. Rudd worked in Greenwich Village Dixieland bands in the late '50s and it was there that he first became associated with Steve Lacy and Herbie Nichols, rapidly moving to the burgeoning avant-garde of the early '60s. He quickly emerged as the first trombone voice of the new music, eschewing the rapid-fire staccato of the JJ Johnson school for the broadly expressive, vocalic gestures of traditional jazz and swing, ranging from the gutbucket of Kid Ory to the finesse of Jack Teagarden and Bill Harris. Among his most productive associations were those with Lacy (a co-led quartet specializing in Monk repertoire) and one with Archie Shepp. Perhaps Rudd's most creative partnership, though, was that with the Danish alto saxophonist John Tchicai. The two embodied marked stylistic contrasts: Rudd emotive, whether, lachrymose, exuberant or broadly comic; Tchicai with a minimalist and almost desiccated line, reducing jazz improvisation to a series of brilliant Beckett-like gestures. With the stunning young drummer Milford Graves, their New York Art Quartet was one of the most original ensembles to emerge from free jazz, a thoughtful extension of Ornette Coleman's quartets with a conversational dynamic and a gift for sudden shifts in voice and mood.

Their first eponymous LP on ESP, from November 1964, was a brilliant introduction. Emphasizing Rudd's compositions, each theme statement plays off the dance of the contrasting ranges and timbres, while each soloist engages Graves' polyrhythmic fields in his own way, the drummer responding with an amazing continuous commentary, the sounds anchored by bassist Lewis Worrell's emphasis on a strummed lower register and a vestigial walking bass. Apart from the quality of the music, the LP has always been noteworthy for Amiri Baraka's reading of his knife-edged poem "Black Dada Nihilismus".

The Rudd/Tchicai conversation is also evident on New York Eye and Ear Control, an earlier 1964 recording and a landmark in collective improvisation. The band was a sextet assembled by artist Michael Snow to record a film soundtrack, with Albert Ayler (tenor), Don Cherry (trumpet), Gary Peacock (bass) and Sunny Murray (drums). The group makes some casual use of Ayler's themes, but it otherwise stretches the boundaries of group improvisation, featuring continuous collective dialogue in a way that's even looser than Ornette Coleman's 1960 landmark Free Jazz. While the Ayler trio with Peacock and Murray ensures a kind of cohesion, the recording seems to prefigure significant partnerships: both the New York Art Quartet and the Ayler Quartet with Cherry that toured Europe two months later. There are fascinating interior dialogues between those who seemingly favor prophecy (Rudd and Ayler) and those asides (Cherry and Tchicai), while there's a fine moment midway through the 23-minute "ITT" when Rudd, Tchicai and Ayler each find an individual phrase to repeat structurally, a kind of manic update on the riffing style of the Count Basie band.

Tracks and Personnel

New York Art Quartet

Tracks: Short; Black Dada Nihilismus; Sweet; Rosmosis; Untitled; No. 6.

Personnel: Roswell Rudd: trombone; John Tchicai: alto saxophone; Lewis Worrell: bass; Milford Graves: percussion; Amiri Baraka, recitation (track 2 only).

New York Eye and Ear Control

Tracks: Don's Dawn; A Y; ITT.

Personnel: Albert Ayler; tenor saxophone; Don Cherry: trumpet, cornet; John Tchicai: alto saxophone; Roswell Rudd: trombone; Gary Peacock: bass; Sunny Murray: drums.


More Articles

Read Duke Ellington on Storyville Records Multiple Reviews Duke Ellington on Storyville Records
by Chris Mosey
Published: March 20, 2017
Read Lee Morgan On Music Matters Multiple Reviews Lee Morgan On Music Matters
by Greg Simmons
Published: March 6, 2017
Read Dan Phillips Returns To Chicago Multiple Reviews Dan Phillips Returns To Chicago
by Mark Corroto
Published: February 21, 2017
Read New, Notable and Nearly Missed Multiple Reviews New, Notable and Nearly Missed
by Phil Barnes
Published: January 25, 2017
Read Blues Deluxe: Colin James, Matthew Curry and Johnny Nicholas Multiple Reviews Blues Deluxe: Colin James, Matthew Curry and Johnny Nicholas
by Doug Collette
Published: January 14, 2017
Read Weekertoft Hits Its Stride… Multiple Reviews Weekertoft Hits Its Stride…
by John Eyles
Published: January 7, 2017
Read "Blue Side of Lonesome: Country Crooners on BGO" Multiple Reviews Blue Side of Lonesome: Country Crooners on BGO
by Jakob Baekgaard
Published: October 23, 2016
Read "Two  Scandinavian Jazz Orchestras" Multiple Reviews Two Scandinavian Jazz Orchestras
by John Eyles
Published: May 23, 2016
Read "Emanem Tidies Up" Multiple Reviews Emanem Tidies Up
by John Eyles
Published: December 19, 2016
Read "Allison Miller & Honey Ear Trio: Lean; Swivel" Multiple Reviews Allison Miller & Honey Ear Trio: Lean; Swivel
by Doug Collette
Published: November 4, 2016
Read "Three saxophonists very different paths since "Propagations"" Multiple Reviews Three saxophonists very different paths since...
by John Eyles
Published: November 23, 2016

Post a comment

comments powered by Disqus


Support our sponsor

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!