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Roswell Rudd: The Musical Magus Turns 75

I see him suddenly as if in a dream. His eyes are somewhat cynical, questioning and beautiful. Wrinkles of laughter pucker up at the edges, and he reminds me of my father. His smile disappears as the mouthpiece of his gleaming trombone meets his lips. Then, all I can see is the large bell of the 'bone. His eyes widen. He sucks in a great gust of air. It seems to settle in his powerful lungs. Then the first sounds emerge. Slow, controlled notes seemingly suspended in the air. I am transfixed. His body sways and bends backward as he squeezes he notes out of his mouth... out of the 30 feet of brass pipe and out of the bell of the horn. The unique smears and near vocal arpeggios that are woven into the dyed musical fabric of "Circulation" dance maddeningly as they unfurl in diaphanous splendor, chorus after chorus, until the rest of the orchestratoo restless from comping behind himjoin, bleating and crying as they dance to his magnificent solo. I am transfixed and as I listen the song's barely visible characters take shape before my eyes.
The mighty dramaturgy of Roswell Rudd's sinewy, restless music had an immediate effect on me. He does not let up, even as he brings his music to a close. I watch as the notes take shape and fill out with tone and color... shades of warm rusts and yellows... greens, reds and bIacks... I watch as the notes pirouette in the air above me. The spectacular unfolding of timbre as each instrument interacts with the otherhorns and reeds, strings, piano and percussion, and most of all Rudd himself, whose trombone has always been suggestive of the human voice as it carved the air with monumental musicianship.
Rudd's sense of drama is matched by his razor-sharp sense of where he belongs in the world of sound. Nowhere is it more vivid and audible as when he weaves in and out of tubaist Howard Johnson's visceral playing on "Breath-a-Howard..." The masterly conversation between Rudd and Johnson is truly worthy of the musical adventure that is created as Rudd plies his art alongside Johnson's tuba. What a magnificent, soaring dialogue born of Johnson's superb narration of a story, aided and abetted by Rudd, as the rest of the band pick up the cue from Hod O'Brien's fingers on the ebony and ivory. "Breath-a-Howard" awakes like the great gusts of wind in a powerful hurricane. Then...silence...

Dewey Redman, tugging at notes, now... as Jordan takes a break. He meets them halfway inside his deep guts, caresses them and tosses them in broad glissandossoft-loud... loud-softthen a fast arpeggio, as he seems to lick his lips. Hands flutter and flash on the triangles and a muted cowbell... William Godvin "Beaver" Harris is on song! Remembering waking, wailing babies at Gorree. Charlie Haden's fingers are flickering across the gut-stringed bass violin... Its thunder rumbles from the depths of its throat. Sirone follow suit. Dewey Redman breaks in suddenly. He lets out a series of ululations and shrieks a long and winded shriek. Then he tosses a high C wildly upward. It flies out of the bell of the horn and into the air spinning like a top and dissipates softly in an after burn.

Shepp had, in that one seminal album, almost singlehandedly created a snapshot of African-American history. In its title track, for instance, the composer created one of the most sterling tributes to the central familial figure in society, deconstructing the socio-political setting in which generations of African-American youth grew up, keeping the culture alive. In doing so, Shepp deconstructed the blues with the burbling flow of his glorious tenor saxophone. Rudd played counterpoint when he was called to do so. But what he also did, when he punctuated his visceral playing with almost vocal shouts and guttural smears, was to create a primordial cry of the human being tortured, yet emerging triumphant from his endeavors; an artist who reachedbody and soulfor the seemingly unreachable... falling, getting up, falling again and again, until finally reaching out and grabbing at life's Holy Grail. Rudd was already a part of the great revival of contemporary American music. A torchbearer alongside Shepp and Grachan Moncur III, Charlie Haden and Beaver Harris, and every other musician whose spirit the musicians on that record were keeping alive.
It is easy to think of an artist in the vanguard of musical revolution as being rambunctious, sometimes wayward, overly sentimental and even lost at times. But not Roswell Rudd. A premier composer and instrumentalist throughout his long and stellar career, Rudd has always had an acute sense of his place in the history of American music. Completely cognizant of its European, African and American folk roots, he has emerged over time steadily like a verdant outgrowth of music's enormous tree of life. He seems to have enjoyed the flowering of ragtime, Dixieland and swing and making this rewarding period of musical development an inherent part of his compositions... Although Rudd may seem to have missed the bebop era altogethersomething that the ever-present Janice "Ms. JJ" Johnson didhe (Rudd) did forge an alliance with the music of one of its great pioneers, Thelonious Monk. In addition, Rudd actually played on several occasions, but sadly never recorded, with the other great composer and pianist of thator any otherperiod in time, Herbie Nichols. The association may have resulted in Rudd reaching terminal velocity as a writer. He and an old friend, Steve Lacy, together began to revive the music of those two pioneering pianists (until Lacy's untimely death in 2004) in some of the greatest repertory music ever made, with several bands, over the years.

In the beginning, Rudd was merely an observer, a keen one, no doubt, in the history that surrounded him. He grew up in a home filled with music. His father was a drummer and his mother taught remedial speech therapy and championed opera, especially Gilbert and Sullivan. When not listening to jazz, the popular music of the day on the radio, Rudd took in performances by the stride pianists. He remembers attending one featuring pianist, James P. Johnson and bassist, "Pops" Foster when he was 12 years old. A few years later, when he was fifteen, he was first mesmerized by Louis Armstrong, who performed during the intermission of the 1952 movie, The Crimson Pirate. Rudd returned to see the movie three times just to listen to Armstrong.
What attracted the young trombonist to the great pioneer of American music was not just his trumpet playing, which had a seductive, primordial quality to it, but also Armstrong's vocals. The trumpeter was not only a monumental instrumentalist, but he was also one of the foremost interpreters of song. A mighty vocalist, Armstrong had an innate ability to tell a story and had an inimitable sense of phrasing, at the cutting edge where the human voice met the art of song. There were other vocalists who stole Rudd's heart away. Duke Ellington Orchestra alumnus, Al Hibbler was one; the others were Bessie Smith, Billie Holiday and Ella Fitzgeraldall voices who not only defined the music of the day, but ignited the planet as well.

This ability to literally let his trombone melt into the cadences of the song is what characterized Roswell Rudd's playing right from his earliest playing and his earliest associations with musicians. In the early 50's Rudd attended Yale University and was part of a music ensemble, Eli's Chosen Six. The band recorded a seminal album for Columbia entitled Eli's Yale University Dixieland Band (Columbia, 1955). Another album with the band appears to have fallen off discographies almost everywhere and is likely to remain so. Rudd did revive the band briefly during his 70th year celebrations with a performance at the Rubin Museum of Art in 2002. From the very beginning of his vocation in music, Rudd's tonal vocabulary has included growling cries, smears woven into the lyrical wow and flutter of his playing that is so eternal that it seems to come from some of the oldest sounds on the planetthe creaks and grumbles and tremulous vibrations that emerge from the nebulous soul of the earth.
For someone who was so connected to the hymn of the universe, it seems fortuitous that Rudd should come to be associated with Alan Lomax, one of the seminal figures in American music. From the early '60s, Rudd worked off and on as a research assistant with Lomax. This culminated in his involvement in two monumental projects. The first was the Cantometrics Project, a global song-style endeavor that sought to study how all folk music traditions are linked in some way. The designers of the project used 37 parameters to analyze the recordings of folk music that they made over the years. Rudd was in his element academically here, working with Lomax who had first spoken of Cantometrics. The ethnomusicologist first formulated this method of studying social interaction through the study of folk music. Lomax attempted to relate the statistical analysis of sonic elements of traditional music, or folk songs, to the statistical analysis of sociological traits. He did this by finding ways to link the vocal quality of folk musiccolor, timbre, normal pitch, attack and type of ornamentationto all of human character within a social context.

It was this unique palette of sonic color that first attracted Herbie Nichols to the Rudd. The great pianist forged a close alliance with the trombonist, exchanging ideas and rehearsing and playing together regularly, or whenever Rudd would find them Dixieland gigs. However, the two musicians spent much time together, learning from each otherRudd more than Nichols. In fact, Rudd credits Nichols for "learning" all about the art of creating unforgettable melody in the bass-line of song, something that Rudd has carried with him throughout his musical life so far. The association also prompted Rudd to create some of the finest repertory music around the recreations of Nichols' music, an achievement that is only matched by similar recreations of the music of that other giant of modern music, Thelonious Monk.

Twenty years after he heard the harmonic and rhythmic sleight of hand practiced by The Yardbird, Rudd melded the advancements of bebop into his own playing by connecting the dots between bebop and later re-evaluations of it, by quite literally sifting through Parker's vocabulary that arose from European harmonic theoretical foundations melded together with African modal rhythmic ones. All this, of course swirling around in one heated cauldron that included Rudd's own ability to make the voice of human endeavor come alive through his trombone.
By this time, Rudd had all but completed his tumultuous dive into the fecund modern music scene in New York. He forged a highly productive relationship with musicians such as Cecil Taylor, John Tchicai, and Archie Shepp and, most enduring of all, with the soprano saxophonist, Steve Lacy. One of the first records that Rudd came to be recognized was Into the Hot (Impulse!, 1961), a seminal album made by Gil Evans. However, at that time in the '60s it was Archie Shepp who held court in the improvised music scene of that day, who was Rudd's most frequent employer. With Shepp, Rudd made a series of spectacular albums, beginning with Four for Trane (Impulse!, 1964), and also including the legendary set, Mama Too Tight.
The '60s was the first truly active period in Rudd's recording career. In addition to performances and albums he made with Archie Shepp, the trombonist also made his first album of Monk's music with one of his musical soul-mates, Steve Lacy. School Days (Hat Hut, 1963) began what would become the first of many performances of some of the finest repertory music of that (or any) other period in time. Both Lacy and Rudd were great admirers of Monk's music and would continue to play his charts regularly for more than a decade. Rudd would continue to play Monk's music, and later also revisit the music of his other idol, Herbie Nichols. But that first album of Monk pieces shared with Lacy would go on to become one of the landmark albums of its day and be reissued several times through the '70s in Europe, and even as recently as 2011 by the British imprint, Emanem.

Just as his voyage of musical discovery began in the '60s, Rudd's epic sonic journey seemed to crest for the first time in the '70s when he made a series of recordings with musicians who shared his sense of adventure. His albums with Charlie Haden, such as Liberation Music Orchestra (Impulse!, 1969) and with Carla Bley, including Dinner Music (Watt, 1977) and Musique Mechanique (Watt, 1979), featured stellar performances by the trombonist. His often aching sound made both Haden's great narratives all the more elementally sad, and his dramatic, sliding leaps created some of the more enduring passages in Bley's superb compositions. During this time, Rudd also made some of his most significant albums under his own name. His first magnum opus, Numatik Swing Band, made in 1973, was followed by Flexible Flyer (Black Lion, 1974), with magnificent vocalist Sheila Jordan, and he also reunited with Steve Lacy to make his other magnum opus, Blown Bone (Emanem, 1976).
During this time, Rudd also began a teaching career first as a member of the ethnomusicology faculty at Bard State College, a fertile stint that began in 1972 and lasted until 1976, when he moved to Maine and taught at the University of Maine between 1976 and 1982.

It was during that decade of the '80s that Rudd seemed to withdraw from active recording, focusing his energy on first teaching and later on composing, practicing and honing his monumental skills on the trombone. Wood-shedding was also combined with an unusual gig. As the performance scene in New York dried up to a smidge, living in the Big Apple became untenable for Rudd and he moved upstate to work in an ensemble at The Granit Hotel, a tourist attraction for retirees from Florida. By his own admission, Rudd played music to back up comedians, singers, dancers and fire-eaters. Years of living the life of an ethnomusicologist, combined with the experience and austere discipline as an assistant to Alan Lomax, Rudd also developed the ability to retain the qualities of a sponge. He listened and absorbed the sounds of humor and the elastic setting in which he existed. This would prove eminently useful as he emerged on the B side of this experience, cresting a new wavea high he would continue to be on for the next two or three decades.
It was first during the late '70s that Rudd first came into contact with Verna Gillis, another extraordinary ethnomusicologist and founder of Soundscape at a performance that Rudd was involved in, with his wife and his wife. Descending from Upstate New York from time to time Rudd often crossed paths with Gillis and participated in the occasional musical adventure with her. Also, by the time the '90s swung around, Rudd was back on the block, performing and making a series of albums, with the British saxophonist Elton Dean, Rumours of an Incident (Slam, 1996) and, a year later, Newsense (Slam, 1997). Rudd also made all-but-forgotten albums, Terrible NRBQ with Terry Adams (New World, 1996) and Out and About (CIMP, 1996), with trombonist Steve Swell, who he credits with enabling his return to New York City's gradually reawakening music scene.

During the '90s and into the early part of the new millennium Rudd also reconnected with his old friend, Steve Lacy. In what was to become one of their last recordings together, Rudd and Lacy, together with Lacy alumni/drummer John Betsch and bassist Jean-Jacques Avenelas well as with bassist Bob Cunningham and the great drummer Denis Charlesrecast some of their music together with the music of Monk and Nichols on Early and Late (2007), a double-album feature caught on tape by Cuneiform Records. This was a valuable addition to the music the two men had recorded on those other repertory records of considerable reputeRegeneration (Soul Note, 1982) and Monk's Dream (Verve, 2000)albums that were recorded more than a decade apart.

Late in the '90s, Rudd formed an enduring relationship with the enigmatic Verna Gillis and Soundscape. Gillis, who credited Rudd with being her mentor in the vast ocean of ethnomusicology, fulfilled the trombonist's enduring dream of visiting Africa on a musical adventure. MALIcool (Sunnyside, 2003)Rudd's extraordinary collaboration with the Malian kora legend, Toumani Diabatewas the first in the Soundscape series that Rudd made under Gillis' brilliant production. This virtual tour de force recalls the mighty cultural collisions featuring Pharoah Sanders and Maleem Mahmoud Ghania, and Ornette Coleman's West African sojourns as well.
MALIcool features Rudd's superb composition, "Bamako," for the first time. The song is a soulful tribute to the city of Diabate's birth, where the two musicians met and recorded. Its singular melody is one that seduces the mind's ear and winds its way into the heart remaining there to be sung, unprompted, as if by magic. Throughout the album, the music is infused with the near-mystical interweaving of Rudd's blues and majesty of Diabate's Malian folk music. The compositional credits are shared by the two musicians and in one of the finest moments of the album, Diabate and Rudd recast a classic Monk chart, "Jackie-ing," where kora and trombone carry on a magnificent, angular exchange as chorus after chorus of Monkisms unfold with rare beauty.
Rudd began to soar ever after. The West African album was followed up with another superb one featuring the great Mongolian throat-singer, Tuvsho (Battuvshin Balansteren) and The Mongolian Buryat Band. On Blue Mongol (Sunnyside, 2005), Rudd continued his global odyssey with Verna Gillis. Here arrangements of traditional music from East of the Urals sways with rhythmic abandon alongside Rudd's compositions created especially for the set. Charts such as "Blue Mongol" share the spotlight with traditional wonders such as "The Camel," soaring with magisterial abandon as Rudd's swaggering trombone melds with the guttural melodism of Tuvsho's throat singing. The musicians also surprise even themselves with a stellar medley of classic Americana: "American Round" features a surprisingly beautiful string of melodies including "Swing Low Sweet Chariot," "Coming In On A Wing And A Prayer" and "Amazing Grace." The album concludes with an unforgettable version of Rudd's composition, "Honey On The Moon."

After his Latin sojourn, Rudd returned to the musical mainland of America with one of the finest albums in the history of his repertoire. Keep Your Heart Right (Sunnyside, 2007) returned the composer to the soundscape of his bold, brassy, trombone. Rudd had discovered the exceptional musicality of pianist Lafayette Harris, Jr. and together with the unbridled ingenuity of Korean-born/American-based vocalist Sunny Kim and the melodic and rhythmic gymnastics of bassist Brad Jones, he created an album of singular beauty. The purity of Rudd's melodism on this album is perhaps its most enduring aspect. "Loved By Love" becomes a ballad of exceptional beauty again, while "Bamako" is rendered with its simple melodic lines in stark, soaring patterns that swirl around, seeming to awaken the musical universe with dewy splendor. The gospel tinge also flavors the music surging just below the surface of the melodies of "The Light Is With Me," "All Night Soul" and the quirky "Suh Blah Blah Buh Sibi." And Rudd closes the set with a beautiful tribute to his partner and soul mate, Verna Gillis, with a truly moving version of "Whatever Turns You On Baby."

Roswell Rudd's Trombone Tribe
Just as it might have seemed impossible to top the past few years of Soundscape productions, Rudd seemed to find a new metaphor, one that he released with a purely trombone album. Trombone Tribe (Sunnyside, 2009) united the musician with some of his old colleagues and some newer ones as well. Bassist Henry Grimes made a reappearance on the album, as did trombonist Steve Swell. The trombone tribe also included the stylish Ray Anderson, Sam Burtis and Eddie Bert, the fat sound of Josh Roseman, the vibrant colorist Wycliffe Gordon and ever-talented Deborah Weisz.
The album unites these musicians of considerable, shimmering talent in a rousing history of contemporary American music, which ends with soaring mysticism in the long piece, "The Place Above." Here, Rudd's trombone tribe meets the blithe spirits in the form of the Ganghe Brass Band of Benin. The spectacular spiritual, inspired by a Sunday service Rudd witnessed in Colonou and bringing together the astounding musicianship of Benin trombonist Martial Ahouandjinou and his brother/trumpeter Magliore, is a five-part suite that explodes with the same energetic fervor that also came to typify the African-American Holy Rolling churches. Once again, Rudd's sense of adventure and childlike wonder, with which he seemed to experience the universe of sound, won out. What still remains a mystery is why accolades for his stellar work with Gillis in the Soundscape series continue to be woefully small. This, however, has never worried Rudd, who fills his world with musical energy and creativity. Returning to his roots of melodism, the trombonist has reached yet another milestone in his illustrious career as an American musical institution.

His hair is as white as mine is today. Suddenly, the sound of his trombone comes into my mind with notes spinning, as if they are myriad dancers illuminating the melody of "Danny Boy." This time it is the voice of Wu Tong that awakens the musical universe from the skies above China, Scotland and America, as Sheila Jordan once did on the unforgettable "Lullaby For Greg." Tears rush down my cheeks, each a river of pain that glistens, as Rudd plays the melody of a song my mother taught me. I realize, all over again, how I connected with the world beyond my horizon, through the art of song that Rudd seems to bring to life every time he puts his lips to the mouthpiece of his trombone.
[Author's note: With special thanks to Bret Sjerven of Sunnyside Records and Joyce at Cuneiform Records, as well as to Martin Davidson of Emanem in the UK, for filling in the gaps. Moreover the deepest gratitude goes to Verna Gillis for her patience and enthusiasm, and for opening her world of music to me. Dedicated, of course to the inimitable Roswell Hopkins Rudd, Jr.]
Photo Credits
Page 1: Cees van de Ven
Page 2: Mark Ladenson
Pages 3, 5: Dave Kaufman
Page 4: Hans Speekenbrink
Page 7: Verna Gillis
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