For Coleman and Chase, two distinguished figures of the avant-garde, the path to Arcades was years in the making. Their journey goes back about two decades when Chase, the fledgling twenty-something drummer of Brooklyn, New York’s post-punk outfit Yeah Yeah Yeahs and a passionate devotee of NYC’s ‘Downtown’ music scene, discovered Coleman’s music.
Chase recalls having first been exposed to Coleman: “I came across Anthony in the early '00s when I was a recent Brooklyn resident. Anthony's reputation and visibility served as a precursor to hearing his music: I would see his name listed at the popular venues for this music at that time - Tonic and The Knitting Factory (on Leonard St.) - and in conjunction with all of the top players: John Zorn, Marc Ribot, Elliott Sharp, etc. His name was on pivotal albums like Zorn's The Big Gundown and Glenn Branca's first record, Lesson No. 1.” Chase continues: “The first time I heard Anthony’s music was actually on a WFMU live session in 2005. I loved his style as a performer and composer - a true mix of the intellectual and instinctual infused with a big dose of joy.”
In characterizing the wildly ecstatic, freewheeling and deeply expressionistic sprawl that is Arcades, the same description of Chase’s initial draw to Coleman’s music similarly applies: Arcades, naturally, is also “a true mix of the intellectual and instinctual infused with a big dose of joy.” All of Coleman’s creative hallmarks - the remarkably original piano wizardry of which long ago affirmed his place in the upper echelons of the avant-garde jazz landscape - in tandem with the technical dexterity and musical supportiveness of Chase, is illuminated on the stunning Arcades, which was recorded pre-pandemic.
Clocking in at 47 minutes with five epic improvisations that either eclipse ten minutes or inch ever-close to that mark, the fittingly titled Arcades is just that: a kaleidoscopic and euphoric set from start to finish. The melodious and abstract constellations of Coleman ping-ponging apace with the distinctive drumming of Chase which, for drums as an instrument, features a heightened melodic sensibility and elaborate tonal palette.
Regarding the compositional frameworks behind the pieces of Arcades, Chase explains, “Some tracks are energetic and hinge on radical shifts of contrast – like in the lead track ‘Arcades’ - while others are more introspective and take time to explore the sonic color of specific resonances – like in ‘Crepuscule.’” He continues: “Having this breadth of complementary differences was important to us. In our playing together, improvisation is the primary method of composition: emphasis is placed on our dialogue of playing and the unfolding of the music itself as opposed to premeditated structures. The way we interact and respond is essential to the development of the music and hence functions as a key entry point of engagement for the listener. This process is ultimately subservient to the music itself for which we are its devoted shepherds.”
Listening to Arcades, it’s apparent these two luminaries were born to play with one another as evidenced by the intuitive bond that is conveyed on Arcades. They share a synergistic interplay that is ingrained in their DNA since they first connected spontaneously at a New Year’s Eve party way back in 2008 at Issue Project Room’s former Gowanus location. “I remember that we had an unexpectedly strong chemistry from that first impromptu meeting,” Chase recalls. “A few years later we played together in a somewhat similar scenario: this was at The Stone in 2012 for an improv night hosted by John Zorn. A large group of musicians were involved and also asked to play in spontaneously arranged combinations. Anthony and I ended up playing together in a trio with bassist James Ilgenfritz. Again, the chemistry was there. When we finished our set, we remarked how great it felt and Zorn suggested that we continue playing together. And, we did...” In the subsequent years, Coleman and Chase have furthered their psychic-level connection through a series of free-improv performances at various venues and spaces in New York City, ultimately arriving at Arcades.
Even Coleman is in awe over their musical kinship, so much so that he tries not to dissect it. He just goes with whatever sonic flow the ride is taking them on. “From the first time we played together I have never understood how Brian manages to hit those overtones that exactly match and echo the chords and sonorities that I'm playing,” he says. “It’s uncanny and so inspiring. It's probably much better if I don't really understand it. But it's no secret that synergy is the essential quality of good duo improvising. And there are many kinds of synergy in this world. Some are more obvious than others. But without getting much deeper into the question I'm just going to say that it's this intricate sonic combination that creates something that’s way more than the sum of its parts. I'm not saying this is everything - but it's a lot!”
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