AprilCadence2013

ERIC BOEREN,
COCONUT,
PLATTENBAKKER 03
COCONUT / WHAT
HAPPENED AT CONWAY
HALL, 1938? / SHAKE YOUR
WATTLE / THE FISH IN THE
POND / LITTLE SYMPHONY
/ CRUNCHY CROCI / PADAM
/ JOY OF A TOY / JOURNAL
/ BEETEE'S MINOR PLEA.
58:57.
Eric Boeren (cnt), Michael
Moore (reeds), Wilbert De
Joode (b), Han Bennink
(snare d). June 3, 2012,
Amsterdam.
New Issues
167 | CadenCe Magazine | april May June 2013
I t's always a treat to listen to this strong, supple, joyous
quartet. Most will focus on the limber, buoyant
interaction of the horns, and that's a smart move.
But for those who love to dig into the groovemaking
of De Joode and Bennink, note here that Bennink is
essentially applying one part of his concert schtick to
an entire set: just snare drum, kids. Snare on, snare off,
sticks, brushes, hands, a whole range of sound. And the
crisp writing throughout, from the vaguely “tropical”
vibe of the title track through to some romping Ornette,
gives him ample material to play with. It's the sheer
spiritedness of the ensemble, though, that commends.
As always, the leader is a treat to listen to. He's always
coming up with another brisk, concise solo, whether on
the sweet Booker Little track that closes the disc or on
“Shake Your Wattle,” where his tasty mute work impresses.
Of course, Michael Moore would sound perfect in
any era, any style of jazz, and his playing strikes me as
endlessly fresh and new each time I hear it. He sounds
fully himself on the Ornette tunes, and manages to
make Boeren's originals (like “Conway Hall,” with its tart,
see-saw intervals) sound Ornette-ish in just the right
measure. Frequently, they find themselves summoning
a strongly sultry vibe in this music, moments of graceful
lilt emerging from little thickets. But just as frequently
they dial up some sizzling swing, only to have fun busting
it apart and then taping it up for the long haul (De
Joode and Bennink once more are aces). Only with the
opening to “The Fish in the Pond” does the band sound
fully jagged and free, with horns laying coiling tones
over the fractured rhythms, but that's only until a nice
unison theme emerges, a bit reminiscent of “Law Years”
in fact. Nimbly racing here, blocky and squeaky there,
this is yet another example of Amsterdam range. And
listening to the band (especially Bennink and Moore)
on “Padam” makes me wonder: how could anyone not
want to listen to this?
Jason Bivins