Almost three years have elapsed since Joe Morris’ last album as a leader. The length of that span is a puzzling one, but it’s made easier to accept in light of how busy he’s kept himself appearing on discs of his colleagues. His hiatus from the helm has also allowed him time to develop into a fine journeyman bassist. But this new Clean Feed disc returns focus to his guitar in the company of a trio of fellow Bostonians. Saxophonist Jim Hobbs and bassist Timo Shanko represent two thirds of the Fully Celebrated Orchestra, a Bean Town staple since the early 90s. Drummer Luther Gray, a veteran of Morris’ last foray, completes the crew.
As on Age of Everything Morris favors a spacious approach to his frets, deploying the densely ferocious attack also at his disposal only in moderation. The opening “Smear Spring” and culminating title piece feature this more frenetic side, barbed and bent notes shooting from his strings like sparks from a magnesium flare. Hobbs’ velocious horn streams vacillate from lissome to combative and it’s a pleasure to hear Morris in the company of an accomplished altoist other than his regular confrere Rob Brown. Shanko keeps pace alongside them, shaving off fleshy harmonic slabs as Gray stirs up frothing oblique beats and clattery tattoos. The title piece follows a similarly expeditious path with an even more sure-footed tread, stretching a tight unison head for guitar and alto into a string of ensemble interludes and detail-rich solos from all involved.
Nothing against these explosive rapid-fire exchanges, but it’s actually the more measured performances in the middle of the program that stuck most in my ears. “Some Good” is the pick of the cache: a somber tune sculpted from vaguely North African source material that houses Morris’ most arresting improvisation of the date. His delicate tandem exposition with Hobbs expands into a gorgeous single note solo, unrushed and ripe with atmospheric cerulean shadings that recall Attila Zoller circa the late 60s mixed with a bit of melodic Sharrock. “Knew Something” starts from a position of comparable restraint, riding the sturdy undulating back of another loping Arabic rhythm. Hobbs obliterates the sense of calm with an ululating eruption midway through, one worthy of Windo in its application of false register squeals and skronks and the tempo accelerates for a galloping resolution.
The dirge blues “Real Reason” carries heavy connotations of Ornette, more specifically “Lonely Woman” in its descending dolorous line. “King Kobra” stitches some more slinky groove into the session and makes for an illuminating A/B comparison with its companion version on Rob Brown’s Radiant Pools (Rougeart). Shanko’s solo, stocked with elastic stops and Eastern koto-style riffing, demands close repeated study. All told it’s a very enjoyable outing and I’d be hard pressed to wish for a better return of Morris to the captain’s chair. Here’s hoping that the wait won't be so long for the next voyage.
~ Derek Taylor
Isn't anybody going to say something mildly contentious so that Joe can, like Mr Punch, pop up and whack them repeatedly with a big stick?
Oh, okay.
Nice review, Derek, and this is an album I'd like to hear. I too like Joe's more measured performances, where his compositions breathe and flex, though I'm also partial to the crunchy pile-ups that occur on albums such as 'Sweatshop'.
Posted by: Brian Marley at February 3, 2006 12:35 AMI've only gotten a chance to listen to it once, having been busy with other recent things (Charles Lloyd's latest on ECM is good, I swear - he was awake when it was recorded - and Vernon Reid's new album is terrific, too, despite being on Steve Vai's label), but it seemed pretty good. I'll go back and check it out again. Clean Feed has a pretty solid track record, as does Joe. The only record of his I've ever actively disliked was Many Rings.
Posted by: Phil at February 3, 2006 4:18 AMFWIW, I like "Many Rings" quite a bit.
But I like most of Morris's recordings, and, since Jim Hobbes is an excellent saxophonist, I'd probably like this one too.
Posted by: walto at February 3, 2006 7:31 AMJim Hobbs is one serious badass. I haven't heard Joe's new record, but I've been listening to Hobbs for almost 15 years, and he's a great argument in favor of musicians getting the heck out of Boston.
Hobbs...Every time I've met him he vibes me, but I don't mind! I think he's a genius player. When people talk about under-recognized musicians I always think of Hobbs. You have to be in a room with his sound to really get it, I think. There's some excellent recordings of him, but to hear him in person is the thing.
Posted by: Reuben at February 3, 2006 8:22 AMAgreed completely, Reuben.
Posted by: walto at February 3, 2006 8:35 AMThank you, Brian. I was wondering if Joe might frown at the comparison of his sound to Zoller & Sharrock, but otherwise, yes, it’s a pretty glowing appraisal; I just couldn’t find anything to grouse about. Sweatshop’s a beaut & from the other early Ritis I also really like Flip & Spike, my introduction to Joe back in ’92.
I’m with Phil on Many Rings, just never really clicked with it.
Posted by: derek at February 3, 2006 9:36 AMHey, Phil, which Lloyd are you referring to? Jumping the Creek from last year, or the upcoming trio w/ Zakir Hussain & Erik Harland? Speaking of ECM merch: I’m curious to hear your thoughts on Terje Rypdal’s Vossabrygg given its heavy heavy electric Miles leanings. I’ve been having some fun bouncing between it & the Cellar Door set.
Reuben, I’ve yet to hear Hobbs in person (I think), but I definitely dig his recorded work, esp. the two FCO Silkhearts. Shanko’s a very talented player too IMO.
Posted by: derek at February 3, 2006 9:39 AMDerek, nice review. I thoroughly enjoy the cd, and having listened to it a number of times now, I'm finding that more is revealed with each listen. In terms of writing, I think this is one of Joe's strongest collection of tunes yet. His playing, per usual, is incredible and it is a treat to hear him play swinging, almost blues-based lines in a few of his improvisations. It is also great to hear Joe playing with Jim Hobbs, as I believe this is his first recording with Hobbs since Racket Club (another great cd).
Good observation about this cd containing the second released version of "King Cobra." While I have the "wrong" version of Radiant Pools, there are definitely some differences between the Radiant and Beautiful recordings of this song. Not to split hairs, but which version do you favor/prefer?
Posted by: Kristian at February 3, 2006 9:18 PMDerek -
I'm talking about the upcoming trio. Sax plus two percussionists somehow managed to wake Lloyd up and turn him into a player again. Haven't heard that Rypdal thing; when did it come out?
Posted by: phil at February 4, 2006 7:13 AMI'll maintain that one really should get familiar with Lowell Davidson if one isn't already. He's pretty crucial in making sense of where Joe Morris is tonally, as well as his phrasing. As for guitarists, I don't see Sharrock at all, but Zoller seems to be there.
Morris is certainly out of the Bley thing too though Lowell has always seemed WAY more ambiguous than Bley (which is saying a lot). It took that connection for Morris' music to click for me, and now it does immensely. I haven't listened to his new one yet, but I look forward to it.
Posted by: clifford at February 4, 2006 12:55 PMThanks, Kristian. I like both versions of “King Cobra”, but I guess the one on Beautiful has my vote because I think Joe’s guitar fits better with the general slow burn vibe of the tune (& is superior to his bass work). On the other hand, I like Rob Brown’s solo better than Hobbs’ and Swell’s statement on the Radiant version is pretty sweet too… it is a tough call. How about you?
Posted by: derek at February 4, 2006 1:55 PMPhil, I think that Rypdal’s got a release date of sometime in mid-February (don’t have the press sheet handy, but maybe the 14th?). It’s an octet w/ lots of electronics (Rhodes, synths, turntables, etc.), two drummers, bass, guitar & trumpet. Several long jams mixed with significantly shorter pieces.
I’m curious about that new Lloyd for sure. I caught the trio here in Minneapolis last spring and came away impressed; though Hussain’s penchant for quoting pop melodies on the tablas wore out it’s welcome right quick- hopefully there isn’t much of that sort of thing on the album?
Cliff, I’m hearing shades of Sharrock on just that one track; they’re not really evident anywhere else on the disc to my ears.
Posted by: derek at February 4, 2006 2:09 PMDerek, thanks for your response. I agree that Rob Brown and Steve Swell take excellent solos on Radiant. I also like how they play around with the head on their version of the tune, the way it overlaps like a DNA helix. I also enjoy Joe's bass playing on the tune as well as his solo. I realize that Joe only started playing bass in 2000, but if you listen back to his records/cds from the beginning of his recording career, you can hear how central the bass lines are to his tunes, so in many ways, Joe is a natural for the bass, in my opinion. You are probably right in calling him a journeyman bass player at this point, but he truly is developing a unique approach to the bass and my guess is that over the next few years it will get more and more difficult to attach that moniker to his name when it comes to his bass playing.
To answer your question, I would have to say that I enjoy both versions of "King Cobra" equally (cop out, I know). I am partial to the Radiant version in the sense that was the first version I heard, so I kind of new what to expect before listening to the Beautiful version. However, the Beautiful version has Joe playing guitar, so that has its obvious advantages, too.
Posted by: Kristian at February 5, 2006 11:39 AMKristian, I think that’s a great observation re: the centrality of bass figures to many of Joe’s compositions. Hopefully I didn’t intimate any qualms with his bass playing; I just hear his guitar playing as (understandably) of a higher caliber.
Speaking of bass players/playing I had quite an epiphany with the last track on William Parker’s new Long Hidden disc on AUM Fidelity- it reminded me of a solo performance I caught back in the summer of ’97 in D.C. where he had four bows sounding separate harmonics on four strings. Is it just me or has he reined in (at least on record) those more virtuosic aspects of his playing over the past few years?
Posted by: derek at February 5, 2006 12:04 PMI think so... something to do with Drake, perhaps?
Oops, just opened a can of worms!
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