![]() #Software ornette coleman the shape of jazz to come zip zip#“Up the Ladder” begins with disjointed drum patterns and piano lines that zip and dart in different directions and ends up with a boogie-woogie. “Free for All” moves in and out of atonal disquietude, out-of-tempo pensiveness, and rollicking gospel jazz. Each of the album’s seven improvisations is distinctive, but all possess a giddy, barriers-down sense of freedom that allows them to go in any direction. They are so eager to connect and they put so much life and commitment into every piano note and drum sound that the music fairly jumps with joy. They can’t seem to resist chiming in when one of them plays something that pleases the other – and they delight each other constantly for nearly an hour. Pianist Irene Schweizer continues her string of superior duets with drummers in this spirited meeting with Joey Baron. But if this release is any indication, let’s hope that Davidson brings it on! It’s hard to imagine more recordings of Rutherford’s left in the vaults. Mattos’ use of electronics along with cello adds a particularly noteworthy touch. ![]() It is a tribute to their mastery and experience how quickly they establish a sense of ensemble, balancing conversational interplay with collective voicings. The three eschew any clear arc, instead gravitating toward sections of density and then backing off to let open sections emerge. The short improvisation bristles and bucks along as the three ping pong ideas off each other with sprightly vigor. This ended up being the last time Rutherford played in public he died three months later. The trombonist had been working with Mattos as a duo and he convened the trio with Weston for a performance at the 2007 Freedom of the City Festival. The final cut, “Trio Finale,” with Rutherford, Veryan Weston, and Marcio Mattos, provides a poignant conclusion. ![]() The two are attuned listeners and know when to leave space for each other and when to jump in and goad things along. “Duet for Two” was recorded in 1988, a few months before their Emanem release “Rogues.” The sonorities of acoustic bass and trombone complement each other well and the 25-minute improvisation abounds with fluid, fleet conversational interplay. He also makes particularly effective use of the juxtaposition of the extremes of register of the horn, leaping effortlessly from the lowest growls to the highest, clarion peals.īassist Paul Rogers was a frequent collaborator of Rutherford’s going back to the late ‘70s when they played together with John Stevens. Instead, there is more patience in the way he lets the arc of the solo unfold. There is nothing in the least bit reductive in his strategies. “Solo for One,” from 2004 showcases the trombonist on his own, and in the intervening years, his playing had become a bit sparer, placing fillips and flurries against an open ground. On this 22-minute outing, Rutherford tag-teams trombone and electronics, letting things veer perilously close to mayhem, then reeling it all in at just the right moments. Rutherford’s control of his instrument and its underlying overtones and multiphonics augmented by use of vocal inflection and mutes was expansive as evidenced on classics like his solo “The Gentle Harm of the Bourgeoisie.” But for a short while in the late ‘70s, he experimented with the addition of electronics and a voice mic. ![]() Things start off with “Duet for One,” a solo for trombone and electronics recorded in November 1979. One might wonder whether these new recordings would offer up anything revelatory, but Davidson always manages to astound with his curatorial prowess, and this one is no exception. But Martin Davidson’s dedication continues to pay off as evidenced by this new compilation, gathering together previously unissued solos, along with a duo and a trio recorded just three months before he died. The trombonist appears on over 30 releases spanning from his participation in the 1966 Spontaneous Music Ensemble session “Challenge” to sessions just before his untimely death. By a quick count, Paul Rutherford is the most documented musician on the venerable Emanem label. ![]()
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