AprilCadence2013

New Issues
160 | CadenCe Magazine | april May June 2013
effect that transcends that of a single instrument.
While Moulder is setting the stage for a narrative-like
creation with his haunting reverb and ethereal melody
for “Creation,” Larry Gray grounds the motion with his
steady but understated bass lines. Though playing
another chorded instrument, pianist Jim Trompeter
has adapted his technique to complement Moulder’s
by splashing broad chords from both hands to add
color and harmonic density as the guitarist solos on,
say, “Cold Sea Triptych.” Moulder’s style and Moulder’s
group are fully developed and achieve instantaneous
audience response to a modally oriented composition
in five-four like “African Sunset.” “Eleventh Hour” too
proceeds in stately, deliberate, forceful fashion from
modal improvisational opportunities in moderatetempo
groups of eleven beats. Not an experiment nor
cleverness, “Eleventh Hour” nonetheless grips the
audience with passionate expressiveness. “Magical
Space” investigates the nooks and crannies of beauty as
Moulder develops a fully realized haunting musical
story line, once again embellished by Trompeter’s tidal
chords and drummer Paul Wertico’s accents from
brushed cymbals. And speaking of Wertico, in whose
groups Moulder has participated for over fifteen years,
the spontaneity of the exchange of ideas between
them is particularly noticeable—and engaging. “Time
Being” starts relatively simply with Bradfield stating
the singable melody without elaboration; Wertico’s
rustling and bridled energy becomes evident under
Bradfield’s long tones as if Wertico is waiting to be
released. Suspicions set up by Wertico’s foreshadowing
are confirmed as the simplicity dissolves to reveal the
underlying force, unbridled when, satisfyingly (to the
crowd’s yelps and applause), Wertico solos midway
through the track. All drumming breaks loose. Wertico’s
solo becomes the track’s fulcrum, initially unsuspected
by the audience, as singsong evolves into dynamism.
The ironic contrasts within “Time Being”—melodic ease
against restrained force, introductory singability against
rock-like final intensity—are but one example of
Moulder’s shrewd compositional imagination.
Combined with like-minded first-rate musicians and the