Zack Clarke – Mesophase (Clean Feed Records)
- The best thing about listening to new music is hearing something that outright confounds. Mesophase is a scientific term used to describe a state of matter that is neither liquid nor solid, but shares properties of both. Mesophase is also the title of the new album by New York composer and pianist Zack Clarke, and is a suitable title given the mercurial nature of the approaches and sounds contained.
To orient you as to sort of what is going on here,it’s like a technologically advanced and better documented version of what Dolphy was up to on his more abstract pieces from the final period of his life…or perhaps a less aggressive, more lyrical variant on AMM’s mid to late-60swork. But, neither of these comparisons do justice to the captivating art and supreme weirdness captured on Mesophase. Clark did well in choosing a compatible roster of up and coming New York improvisers for the record (Chris Irvine on cello, Charlotte Greve on saxophone, clarinet, flute, Nick Dunston on double bass, Leonid Galaganov on percussion, waterphone, shakuhachi).
At times I find myself questioning what instruments are being played, which sounds are affected and/or overdubbed and which are not, how much is written vs. improvised, and from what kind of room(s) were these sounds originally emanating. The only thing I know for sure after listening to Mesophaseis that I’ll likely be doing so again and again.
Eraldo Bernocchi – Like A Fire That Consumes All Before It (RareNoise Records)
Imagined and produced by Michele Bongiorno and written and directed by Andrea Bettinetti, Cy Dear is the recent documentary about the polarizing and inimitable American abstract expressionist painter-sculptor-photographer Cy Twombly. The film was initially shown at the Museum of Modern Art in New York City in the spring of 2018 and had a short festival run in the fall, never reaching my neck of the woods.
Although I have yet to see the film, I have been enjoying its soundtrack for some time now. Italian multi-instrumentalist and co-boss at RareNoise records Eraldo Bernocchi scored the film using primarily guitar and effects, and it is as soothing as much of Twombly’s work is quite the opposite of that. Imagine the work of Harold Budd (with whom Bernocchi has collaborated) and Brian Eno and you’re in the ballpark. Despite the vastness of the ambiences on Like A Fire That Consumes All Before It, there is a wise economy to Bernocchi’s pieces and playing. As he has said, “I hate overproduced music. Super-layered tracks make me nervous. I trust one note, one single note, a riff. That riff can say more than a whole orchestra.”
As I patiently wait for the film to stream into my home at some point in the future, I anticipate that I will continue to submerge deeply into the cool lake that is LAFTCABI.
Andrew Cyrille – Lebroba (ECM Records)
It is a stretch for me to imagine an Andrew Cyrille, Wadada Leo Smith, and Bill Frisell trio record being anything other than fully satisfying, particularly one where the material is all originals, as on Lebroba (contraction of Leland, Brooklyn and Baltimore, birthplaces of the three). It’s no surprise that these three masters didn’t let me/us down in this case.
Of all the remarkable aspects of Cyrille, Smith, and Frisell, the one that stands out most is that nearly every note by each is a signature that is instantly recognizable. This is no easy task when one considers that none of them is “going off” per se, but rather, the focus is on how he can contribute to the whole in the most efficient way possible. Also, the absence of a grounding bass instrument is never even the slightest consideration. There is no way to appropriately stress the difficulty of this approach to playing in a group setting, especially since one feels throughout as though these three are so dialed-in. All of this is to say that Lebroba breathes so deeply and intently, and quite unlike most anything out there today, lulls us into a sort of euphoric trance state.
We probably don’t deserve this document of the maiden recorded union of three of the greatest in superb form, but maybe if we all bring some good into the world, we’ll get another helping down the road.
Friends & Neighbors – What’s Next (Clean Feed Records)
I have grown accustomed to expecting new creative music from Norway to have a certain chilled aesthetic: patient, melodious, and expansive. This is not the case on What’s Next?. the new third release from Friends & Neighbors. Not that those qualities are entirely absent here, rather, they are less a priority than executing with an elevated sense of urgency.
Saxophonist and primary writer André Roligheten, trumpeter Thomas Johansson, pianist Oscar Gronberg, bassist Jon Rune Strom, and drummer Tollef Ostvang aren’t afraid to wear their classic American influences from Ornette, Monk, and Shepp, to maybe a little George Russell (?)…on their collective sleeves. But F&N aren’t just rehashing the past or hoisting their influences as a gimmick. More likely, they are taking what excites them about music and using it as a roadmap or language or world in which to explore. It’s worth commending Dag Erik Johansen and Kai Andersen at Athletic Sound, Halden, Norway who have done an exceptional job of capturing five guys in an ambient space without getting in the way.
F&N have hit upon the sweet and elusive spot between composed and improvised that few successfully do. It’s safe to say that the present album is indeed What’s Next!
Ant Law – Life I Know (Edition Records)
You might know Ant Law from his playing on a few of saxophonist Tim Garland’s records, but Life I Know is the guitarist/composer ‘s 3rd leader outing. It is also an impressive showcase of both British talent and the almost dizzying spectrum of stylistic influences on Law’s music. From rocking fusion jams to South Indian konnakol to the perennially welcome soaring melodies of “Pure Imagination”, virtually no stone is left unturned.
For LIK, Law has enlisted some of the best and brightest of England in pianist Ivo Neame, saxophonist Mike Chillingworth, bassist Tom Farmer and drummer James Maddren, and away they went. Although I wouldn’t call it “showy” they guys certainly like to play, and Law left plenty of room for that. The end result is a fun annotated ride through what one might imagine a supremely gifted guitarist’s record collection might look like.
Ant Law continues to grow and evolve as a player and as a composer, and with Life I Know, we are starting to get a good look at his core as a musician, and if he stays near this path, his future looks quite bright.