Erik Friedlander : "Skin"

(Siam, 2000)

Cellist Erik Friedlander continues to explore new vistas of expression in the progressive modern jazz idiom. In alto saxophonist Andy Laster he has a partner with whom to contrast stylistically, while electric bass guitarist Stomu Takeishi and percussionist brother Satoshi create a rhythmic foundation that lives and breathes on its own. The Atlas Cello Quartet is also featured on most of this program. There are five "standards" of the 11 compositions that Friedlander interprets. Henry Mancini's "Susan" is serene and beautiful, with slight Afro-Cuban spice and melody similar to "Invitation." The title track "Skin I" is written by Julius Hemphill with Laster assimilating the writer's signature outcry over kinetic, almost industrial percussion and a 4/4 Afro-groove. "Sahel Va Danya" is a creative raga; "Eclipse" the Charles Mingus moody bell ringer, features Laster again wailing; and a solo cello version of "Golden Dawn" takes the Carlos Santana piece into very different sonic areas from the original. The rest are Friedlander's originals. Balkan measures of 7/4 and 4/4 collapse into no time. Slight snippets of cello, bass, and percussion lead to harder, then deliberate swing with harmonic bass overtones on "Split Screen," Friedlander's most involved writing. There's the urban landscape funk of "Fekunk," and the 6/8 Afro-groove "Life In-Line." The total string package is most prevalent on the pensive "Reflections" and more 20th century, contemporary-natured on "White Mountain." The ensemble is at its darkest during "Doomwatcher," replete with free emotional exchanges. Because Friedlander explores many avenues of improvisation and composition, he can't be pegged; his work doesn't fit into a definable bag. You could call it great modern music, and that would be enough. The sounds are challenging, eminently accessible, and definitely compelling, marking more progress in this marvelous musician's burgeoning career. Highly recommended, and a step beyond his previous CD, Topaz.

Michael G. Nastos (Allmusic)

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Satoko Fujii : "Jo"

(Buzz, 1999)

Pianist Satoko Fujii has assembled a 15-piece band of intensely fierce improvisers from various sources, including NYC, Boston and Japan. Trumpeter Jack Walrath (ex-Charles Mingus), saxophonists Briggan Krauss and Chris Speed (Knitting Factory stable), trumpeter John Carlson and trombonist Curtis Hasselbring (Either/Orchestra), trumpeter Dave Ballou (Orange Then Blue, among others), trombonist Joey Sellers (a progressive big bandleader in his own right), and countrymen Stomu Takieshi (electric bass) and trumpeter Natsuki Tamura are part of this multi-national, multi-faceted avant-garde improvising unit. Fujii penned six of these eight pieces. "Jo" is apparently a midnight-dancing wolf, as depicted during the stalking title cut, brimming with counterpointed horn layers and a stealthy, slow 10/8 funk rhythm. Drummer Aaron Alexander solos, with Takieshi responding by his carnivorous lonesome. "Kyu" is free New Orleans-flavored funk-rock with urgent, kinetic lines, running dragster-fast over skittering, dodge-car improvisations, while calmer, echoing motifs and Kodo-like drum slams accent Tamura's "Okesa-Yansado," with a quite symphonic coda. The mournful elongated chart of the ballad "Reminiscence" leads to rubato horns pulsing in ghostly fashion. Fujii's voice is her ensemble, but you hear traces of her pianistic personality during the Tamura composition "Wakerasuka" — piano and percussion counterpoint trading places back and forth with sour, long horn tones, then combining forces, followed by group vocal outcries and a hard funk charge. Her inside-the-piano strings clattering inspires gossipy horns chattering amongst themselves for "Around the Corner," and the 13-minute "Sola" is slow-dirge funk, solemn and remorseful, quite mindful of a distinct Gil Evans approach. This is dense music with creative flourishes an occasional Oriental edge sewn in the fabric of richly textured writing and improvisation. Fujii has a unique concept, eluding hard definitions and parameters. Perhaps this is the opening salvo for what could be many expansive and intriguing works to come.

Michael G. Nastos (Allmusic)

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The Fell Clutch

(Animul)

The Fell Clutch feature Ned Rothenberg on bass & regular clarinets & alto sax, Stomu Takeishi on fretless electric bass, Tony Buck on drums and Dave Tronzo on slide guitar (3 tracks only). There was rave review of this quartet playing live in Brooklyn last year by Andre Henkin in All About Jazz, so I've been eagerly awaiting this disc to arrive. And what an amazing and unlikely downtown all-star quartet this is. I recall Ned Rothenberg sitting in with Spanish Fly (Tronzo, Steve Bernstein & Marcus Rojas) in the recent past and fretless bass god, Stomu Takeishi (Threadgill's Make a Move & Myra Melford) has been a longtime partner with Tronzo in his trios/duo throughout the years, so that's where these connections were made. Australian drum wiz, Tony Buck (The Necks), has been coming to town pretty often in the last few years and has played at a couple of Zorn's monthly improv sessions at The Stone, which is where this quartet first played together. Enough history. Which brings us to this colossal trio and quartet date.
The Fell Clutch love to twist its grooves inside-out. Ned establishes the groove on the opening piece, "moment of reloading" on his bass clarinet with Tony playing skeletal drums, Stomu throbbing those cool bass swirls and Dave playing his fractured slide sounds. Stomu's sly, distinctive fretless bass sound starts off "life in your years" with Ned's sumptuous clarinet and Dave's haunting slide slowly swirling around one another, a superb gem. What is most wonderful about this disc is that although it is mostly improvised, this trio or quartet sound as if they are playing mainly charted pieces, so focused is the overall sound. On "food for a rambling", Ned sets up an odd groove with a bent sax -line that he repeats and twists into odd shapes as he circular breathes with the bass and drums punctuate his groove. It's always great to hear Tronzo make his guitar talk, which he does on a number of these pieces with his wah-wah slide playing. I dig the way the guitar, bass & drums often set up these great little grooves, sometimes a bit bent but always infectious in one way or another. "epic in difference" is in fact an epic-length piece that begins with immense suspense, floats eerily with Ned playing dijeradoo-like bass clarinet. The bass and guitar sound like mutant ghosts as Tony plays alarm clock-like cymbals. It builds in intensity as it develops, feeling like some sort of ritualistic dance of the spirits. This is a most mesmerizing journey through some dark lands. An awesome endeavor from a fine quartet downtown's best.

Bruce Lee Gallanter (Downtown Music Gallery)

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Tronzo trio : "Yo ! Hey !"

(Tradition & Moderne, 1995)

« Tronzo is some kind of mad scientist, having spliced together two completely disparate idioms-slide guitar and bebop jazz. On a bad night, he sounds like Duane Allman grafted onto Charlie Parker. On a good night, he’s like nothing you’ve ever heard before ».

New Yorker Magazine (August 1994)

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