Enterprising Chicago-based clarinetist James Falzone and a core band of fellow improvisers signal a modern day avant-jazz summit, inspired by the leader's affinity for Renga, which is a Japanese poetic tradition where 2 or more poets work in parallel to produce a new work. Falzone yields dividends by enlisting an ensemble, featuring prominent trailblazers of the modern era's improvising circuit such as Ken Vandermark, Ben Goldberg, Ned Rothenberg and others of note. The performers' inner-workings are implanted within a holistic viewpoint, spanning stark minimalism, classical inferences and jazz with asymmetrical parts, structure and freedom. At times the musicians veer off into subgroups and explore numerous concepts via muscular unison choruses, playful breakouts, curvy dialogues and solemn inquisitions.
"Until" is the album's lengthiest work, clocking in at 13-minutes. Here, the sextet stops, starts and generates an airy environ with rests in between choruses amid many contrasts, given the artists' varied selection of clarinets and saxophones. They delve into a surfeit of exploratory processes, shaped with contemplative and microtonal etudes and a primary theme engineered with a vertical trajectory. They mix it up with verbose exchanges while also converging and splitting themes into micro-fragments. Towards closeout , Jason Stein, Keefe Jackson and Vandermark engage in a whirling bass clarinet cadenza as the band eventually goes all over the map with fiery exchanges. Thus, each piece poses its own set of circumstances and not solely centered on wild escapades or laborious journeys without an endpoint or zenith. There are quite a few moving parts as an irrefutable sense of excitement underscores the overall proceedings.
Personnel: James Falzone: Bb and Eb clarinets; Ken Vandermark: Bb clarinet, bass clarinet, baritone saxophone; Keefe Jackson: tenor saxophone, bass clarinet, contra Bb bass clarinet; Jason Stein: bass clarinet; Ben Goldberg: Bb clarinet, contra Eb alto clarinet; Ned Rothenberg: Bb clarinet, alto saxophone.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.