This release represents a follow up to the artists’ 2000 trio effort featuring bassist, Randall Hunt. With this outing we find saxophonist, Ike Levin, and pianist/saxophonist, Joel Futterman enjoying a discernible comfort zone via their often-emotive call and response type exchanges and adventurous fabrications. Moreover, this production sports extraordinary sonic characteristics, where every subtlety and nuance shines through in crystalline splendor.
Known as a versatile avant-garde jazz pianist, whose Cecil Taylor influences cannot be underestimated, Joel Futterman also performs on the curved soprano saxophone, while utilizing a wooden Indian flute on, “Arrival.” Futterman’s multitasking abilities surface on more than one occasion. At times, he toggles between piano and curved saxophone as the instrumentalists frequently take turns commandeering the various storylines.
They taper the proceedings down in spots, while Levin’s muscular attack and breezy lines complements Futterman’s circuitous developments. On “The Gift,” Futterman lays down a lower register ostinato groove amid Levin’s darting choruses and animated inflections. Here, lucid imagery abounds as the twosome subsidizes all of the excitement via a series of spontaneously rendered micro-themes. Recommended.
I was first exposed to jazz while working overseas in Africa as a Peace Corps Volunteer. I would listen to the Voice of America on the radio and they had a nightly jazz program on at 10:00pm. I learned a lot about jazz listening to this program. I also had a friend who listened to real jazz by artists like Charles Mingus, Eric Dolphy and Archie Shepp. On my way home from Africa I landed in New York and had the opportunity to see the George Adams/Don Pullen quartet at the Village Vanguard as well as Kenny Barron and Ron Carter at another club, and was in heaven.