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JOHN MOULDER<br />
QUINTET<br />
THE ELEVENTH HOUR:<br />
LIVE AT THE GREEN<br />
MILL<br />
ORIGIN 82606<br />
PROCLAMATION OF THE<br />
UNEXPECTED / AFRICAN<br />
SUNSET / COLD SEA TRIPTYCH<br />
(INTRODUCTION) / COLD SEA<br />
TRIPTYCH / THE ELEVENTH<br />
HOUR / GATEWAY / MAGICAL<br />
SPACE / CREATION / TIME<br />
BEING. 74:32.<br />
John Moulder, g; Geof<br />
Bradfield, sax, bc; Jim<br />
Trompeter, p; Larry Gray, b;<br />
Paul Wertico, d. 7/30-31/11,<br />
Chicago, IL.<br />
New Issues<br />
159 | CadenCe Magazine | april May June 2013<br />
and there’s some oud on the up-tempo on “Children<br />
Song.” Even more boisterous is “Kommeno Today,” whose<br />
low tom tattoo and deep swing suggest one part Gerry<br />
Hemingway small group, one part Jo Jones with Basie,<br />
and one part Ehrlich’s Dark Woods Ensemble. But I keep<br />
coming back to the oscillating melancholy that elsewhere<br />
suffuses this recording. It’s an absolutely sterling<br />
example of the kind of post-free folk improv explorations<br />
that have deservedly won so many fans.<br />
Jason Bivins<br />
Though John Moulder has been recording and performing<br />
for twenty years now, his0 name recognition<br />
hasn’t risen to that of the top ranks of jazz guitarists. It<br />
really should. No exaggeration.<br />
His most recent album, The Eleventh Hour: Live at the<br />
Green Mill, is proof of that. Apparently the result of<br />
serendipity, the album exists because recording<br />
engineer Ken Christianson suggested recording<br />
Moulder’s quintet at Chicago’s Green Mill during<br />
a scheduled engagement. First of all, kudos to<br />
Christianson for a fine job of sound engineering,<br />
catching the nuances of tone, the crispness of<br />
articulation and the cohesiveness of interaction,<br />
even while recording crowd response at the end<br />
of each piece. For that reason alone, The Eleventh<br />
Hour represents an excellent live album. Blending<br />
performance and reaction into a memorable synthesis,<br />
the album adds another level of excitement to<br />
compositions that have appeared on Moulder’s previous<br />
CD’s. But the music itself, live or in a studio, distinguishes<br />
the project. Moulder plays with experienced confidence,<br />
not only altering technique to achieve effect, but also<br />
creating mood. Whether bending or distorting tone<br />
or playing with acoustic clarity, Moulder pulls in the<br />
audience with his heightening layers of dynamism.<br />
Also, Moulder works with like-minded musicians who<br />
share his vision and his sound. All but saxophonist<br />
Geof Bradfield have worked with Moulder on previous<br />
projects, but still Bradfield contributes sonic depth and<br />
naturalistic verisimilitude on bass clarinet. The quintet<br />
does perform as a single unit, achieving a totality of
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