There's a sense of mystery, majesty and daring
surrounding this remarkably deep studio session, the first of its kind for the
adventurous renegade label RareNoiseRecords. Each piece resounds with such
compelling, conversational, in-the-moment playing that it sets a new standard
in collective improvisation. "I believe it raises the bar for what
improvised music can achieve on record," says pianist Jamie Saft of Red
Hill, the group's mesmerizing debut on the RareNoise label.
Fueled
by the urgent high note blasts and expressive muted trumpet work of avant-garde
icon Wadada Leo Smith and underscored by an uncanny group-think of RareNoise
stalwarts Saft (Metallic Taste of Blood, Slobber Pup, Plymouth, The New
Standard) on keyboards, Joe Morris (Plymouth, Slobber Pup, One) on acoustic
bass and Balazs Pandi (Obake, Metallic Taste of Blood, Slobber, Pup, One) on
drums, Red Hill is a kind of clarion call for the new avant-garde. "It's
rare that four improvisers with such a broad depth of approach are given
complete freedom to construct an album such as this," adds Saft. "I
think there is nothing like Red Hill. It is a wholly unique and previously
unheard shape for an album. The session was totally improvised. No sketches or
preconceptions, really no discussion at all before playing."
A
dynamic, highly intuitive offering, Red Hill is full of tensions and releases
and characterized by dramatic use of space juxtaposed with turbulent crescendos
by the provocative collective. That this music really breathes and flows
organic is due in no small part to the incredibly sensitive, remarkably
flexible playing of drummer Balazs, who covers a very wide spectrum on this
recording. "Balazs has a sense of freedom that is rare in improvised music,"
says Saft. "He brings a depth of knowledge of both hardcore and metal
music as well as free jazz and noise styles. He is of the moment and always
pushing forward. He's a deep listener and a sympathetic thinker, so improvising
with Balazs always flows properly." Saft has similarly high praise for
Pandi's rhythm tandem mate, bassist Joe Morris. "His approach to the
acoustic bass is completely unique and like nothing else in this world. Joe
pushes the music into uncharted territory while sustaining the flow brilliantly.
The idea of 'Snake Time' is in full effect here, and Joe and Balazs together
create truly unique and crucial spaces to frame the improvising."
Pandi's
sensitive, highly interactive brushwork and coloristic cymbals underscore
Smith's lyrical muted trumpet playing on the sparse opener, "Gneiss."
And yet, when that piece builds to a turbulent crescendo near the end, the
drummer is right there to fuel the frantic proceedings. With mallets, Pandi
engages in a conversational duet with Smith at the outset to "Janus
Face," a piece that evolves from slow, open rubato statements to dense
explosions of tumultuous free jazz sparked by Saft's Cecil Taylor-esque attack
on the piano. Saft switches to Fender Rhodes electric piano to attain another
color on "Agpaitic," a conversational romp that features some
aggressive bowing on the bass by Morris. And Pandi supplies the rolling free
pulse beneath Morris' trance-like bass ostinato and Smith's edgy trumpet
excursions on "Tragic Wisdom," which also has intrepid improvisor
Saft plucking strings inside his piano.
Silence
is the watchword on "Debts of Honor," a thoughtful improvisation
which evolves gradually over the course of nine minutes from zen-like
tranquility to intense crescendo paced by Pandi's relentless drumming and
Saft's spiky piano comping and is highlighted by some of Smith's most powerful
blowing of the session. The trumpeter begins the closing number,
"Arfvedsonite," with a high-note blast before Morris enters with some
insistent arco work to create an edgy texture. Pandi's rolling pulse with
mallets and Morris' resounding bass tones quickly establish a solid launching
pad for Wadada's stratospheric improvisations on trumpet, bringing this
spell-binding collection to a ferocious conclusion.
"I
have worked with Wadada in the past both as a pianist and also as an studio
engineer," says Saft of the revered elder statesman of this Red Hill
session. "I was thrilled to record and mix Wadada's large ensemble album
Lake Biwa as well as contribute some piano to it. I've worked closely with
Wadada in the studio in the past and witnessed his incredible focus and deeply
intuitive way of putting together albums. So it was thrilling for me to get the
opportunity to put together this album with a lead voice as strong and
important as Wadada's. My approach to this record was to accompany and support
him as deeply and as intuitively as possible. All decisions were made in
service of the whole."
Adds
Morris, "I first heard Wadada in my hometown of New Haven in 1973-74. I've
always paid attention to him, heard all of his work, read his writings. We've
known each other for more than 30 years but this was the first time we've had
the chance to work together. I think of Wadada as a master trumpeter/improviser
and as the inventor of his own methodology. He has a completely unique sound
and way of playing. He uses space and pulse in very sophisticated ways, and he
always plays everything from the deepest part of his being. He's a beautiful
person, artist and musician. He always brings out the best in everyone around
him."
With the
iconic Smith inspiring the rest of the crew of Saft, Morris and Pandi on this
freewheeling session, the four daring improvisers hit a stirring accord on Red
Hill, their monumental debut on RareNoise Records.
TRACKS
Gneiss
Janus
Face
Agpaitic
Tragic
Wisdom
Debts Of
Honor
Arvedsonite
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