I have no idea why this was not released earlier, having been recorded live in 1998. It certainly has nothing to do with quality, as these three lengthy tracks are successful from start to finish. While TG and KK have certainly worked together before, I believe that this assemblage is a new one and the results are fresh and satisfying, the perfect blend of composition and improv.
The loosest structure is Berger’s “Nameless Child” which kicks off the proceedings, a modally invigorating workout with a skeletal theme, leaving lots of room for blowing of all sorts. There’s plenty of stereotypical barnstorming of the free variety, but one of the most beautifully unexpected moments is when Berger starts his solo. Here, as on “It Will Come”, he’s on piano, and he commences with rich impressionistic chords, journeying way outside the key and back; just as things begin to take off, Kugel and Carter fade and drop out. What ensues is a beautifully pointillistic and meditative dialogue, more like late Cage than jazz, where reeds occasionally punctuate Berger’s sparse but pithy musings.
Both Jorgensmann and Vysniauskas are new to me, but they are consummate masters, leading me to wonder why I’ve let them go below the radar. Check out TG in an increasingly frantic duet with Carter at the opening of KC’s “It Will Come”, the most tightly structured and complex track here. The head is simply gorgeous, especially evoking Carla Bley’s whimsically profound bluesily idiomatic romanticism. It’s only fitting that TG is showcased on such a compositional powerhouse, as the ideas pouring out of him seem simultaneously effortless and endless. Based on the evidence of this date alone, he’s one of the best clarinetists I’ve ever heard, and Carter, a formidable musician in his own right, has his work cut out for him keeping up with the fleet-footed barrage of post-Dolphy aphorisms.
The rhythm section truly shines on TG’s “Nightmare” where Kugel in particular rocks hard with a brash but timbrally inventive solo. This is in sharp contrast to much of his work throughout the disc, which can be absolutely subtle and quietly intense, often consisting of brush-worked pops, exhalations and etherial Orientalist percussion.
I have attempted to make this playing static, to verbalize in frozen form the swells, fades and endlessly creative dialogues that this sextet continually presents, but the process is fluid, an extension of late 60s “creative” music with thirty years of refinement and expansion. There is not a weak link in the chain. Has this group recorded again? I certainly hope so.
~ Marc Medwin
The only Jorgensmann reference point I have is the trio with the brothers Oles on Not Two, which is pretty good. This looks interesting - Klaus Kugel is a very good percussionist, for one (not to mention the leader's potential for both shrill and delicate). Is Marc a new cat, or was this review originally published somewhere else? It's well-done.
Posted by: clifford at January 14, 2006 7:53 PMIf you find Oles/Jorgensmann/Oles's "Miniatures" [Not Two] "pretty good", you should check their new disc "Directions" [Fenommedia]. "Giuffree" from that cd you can find at: http://www.diapazon.pl/mp3/Oles_Directions_Giufree.mp3
Posted by: tadk at January 14, 2006 11:59 PMHey Clifford, I've been around a year and a half or so, but I appreciate your comment. A little clarification for those wishing to be clarified: The nice folks at Bags post for me, because I can't see, and I couldn't get my speech software to work right when I would try to post.
Posted by: marc at January 15, 2006 2:56 AM.................................................. © 2003 - 2006 bagatellen ..................................................
