Specs & Pricing

Music
Jazz
and the old Vonski charm will surface in the
forceful overblowing accompanied by a few
irreverent squeaks and skronks, along with a
few humorous slurs on the horn. As the title
of the gorgeous opener to this appealing
collection of ballads and blues so perfectly
states, “Why Try To Change Me Now.” It’s an
apt motto for the renegade tenor man.
Accompanied by veteran drummer Jimmy
Cobb (a member of the Miles Davis quintet
of the late 50s, whose effortless timekeeping
fueled Miles’ landmark 1959 session, Kind of
Blue), former Charles Mingus pianist Richard
Wyands, and ubiquitous New York bassist
John Webber, Freeman imparts these oldschool
ditties with a larger-than-life personality
marked by warmth, humor, and just a touch
of eccentricity. Think of him as Sonny Rollins’
older, “outer” brother. Freeman is at his
friskiest (and outest) when swinging, as on a
jaunty rendition of “An Affair to Remember”
and on a surging uptempo version of his own
“A Night in Paris.” His beautiful ballad playing
on Sy Coleman’s “Why Try To Change Me
Now” and on Charlie Chaplin’s heartbreaking
“Smile” are underscored by Cobb’s sensitive
touch with brushes. And he deals in some realdeal
blues on an earthy reading of “I’ll Never
Be Free.”
Known throughout his storied career
for successfully straddling the free-jazz and
bebop worlds with his blustery tenor sound,
Vonski plays it relaxed and easy here without
sacrificing his signature unorthodox sonority
and indefatigable charm. Recorded and mixed
by Jim Anderson at Avatar Studios in New
York, the intimate session brilliantly captures
the spectrum of textures and dynamics issuing
forth from Freeman’s golden horn. BM
Further Listening: David S. Ware:
BalladWare; Pharoah Sanders:
Crescent With Love
Medeski, Scofield,
Martin and Wood:
Out Louder.
Indirecto 856549.
A decade having passed since their first and,
until now, only joint project, this reunion
of guitarist John Scofield and organ-trio
Medeski, Martin and Wood finds these
musical explorers pushing the boundaries
even further than they did on A Go Go, a
sometimes-electric, sometimes-acoustic
affair that remains one of Scofield’s most
satisfying recordings. While the latter seldom
David Binney:
Out of Airplanes.
Binney, producer.
Mythology Records 0005.
A distinctive alto sax player, innovative composer,
and restlessly creative sonic provocateur, David
Binney surrounds himself with stellar company
on Out of Airplanes, his eighth recording as a
leader. Guitarist Bill Frisell, keyboardist Craig
Taborn (a ubiquitous figure on New York’s
downtown music scene), bassist Eivind Opsvik,
and drummer Kenny Wollesen (a member
of Frisell’s group and Sex Mob) all put their
individualistic stamps on Binney’s intriguing compositions, and particularly on three wideopen
improvisations.
They open on a dissonant note with “Brainstorms, Pt. 1,” an edgy free-form excursion
that sounds like an outtake from Miles Davis’ On the Corner sessions. On Binney’s fugue-like
“Contributors,” the saxophonist engages in sparse contrapuntal dialogue with Frisell against
the backdrop of Taborn’s hypnotic piano ostinato. As the piece builds dynamically, from Philip
Glass-like delicacy to screaming crescendo, Frisell commits sonic mayhem with his fuzz box
set on stun. On the title track, the guitarist again unleashes hellacious, grunge-laden loops and
backwards effects on the tumultuous middle section, then wails with distortion-laced impunity
through the rest of the piece. The poignant “Home” carries a simple, heartland feel that radiates
warmth and beauty—right up until the moment that Frisell stomps on the fuzz and sends bits
of sonic shrapnel flying in all directions.
Opsvik’s lyrical and introspective “Jan Mayen,” underscored by Wollesen’s gentle brushwork
and Taborn’s sensitive touch on piano, offers a calming breath between the more densely
unhinged encounters. Binney delivers one of his more impassioned alto solos here, gradually
building to an intense peak (reminiscent of David Sanborn’s more emotive playing with the
Gil Evans Orchestra) as the tune picks up steam. Binney’s brief “Wild Child” recalls one of
Frank Zappa’s buoyant, chamber-like ditties like “Sofa No. 2,” while “Brainstorms Pt. 2” is
an off-kilter, Devoesque interlude underscored by Wollesen’s mechanical backbeat. On the
potent closer, “Instant Distance,” Binney turns Wollesen loose for some whirlwind flailing on
the kit against a slow, deliberate ostinato played in unison by the rest of the band.
Recorded over two days last March in Frisell’s hometown of Seattle and jointly mixed by
Binney, co-producer Opsvik, and Mike Marciano at Systems Two in Brooklyn, Out of Airplanes
resonates with crystal clarity at its most precious moments and rocks with tumultuous fury at
its most dense peaks. The chemistry established on these experimental vehicles is immediate,
and the resulting music is both provocative and compelling. BM
Further Listening: Cuong Vu: It’s Mostly Residual; Richter 858: Music By Bill Frisell
strayed from subdued straight-ahead funk,
Out Louder effortlessly merges avant-jazz
and groove-oriented influences, stretching
into the free-jazz of “Miles Behind” and
the Cuban-inflected styling of “Tequila and
Chocolate.”
The foursome has clearly gained
confidence and learned to loosen up since
last meeting. Case in point is the deliciously
funky groove of “Tootie Ma is a Big Fine
Thing.” In lesser hands, this seemingly simple
jam might be dismissed as a tossed-off track.
But it’s exhilarating to hear these modernjazz
greats at play, drummer Billy Martin
serving up a Meters-inspired syncopated
New Orleans beat; bassist Chris Wood
laying down a dizzying bass line; organist
John Medeski punctuating the rhythms
with razor-sharp accents; and Scofield
snaking lithe guitar lines throughout. It’s
akin to watching master chefs concocting
sumptuous gumbo out of table scraps.
With each successive track, the quartet
utilizes a new device, sound, tone, or
direction—a touch of Memphis blues here,
a flash of psychedelia there. One moment,
Scofield is channeling Jimi Hendrix on
the space jam “What Now”; the next,
he’s reaching into his trick bag for sultry
132 December 2006 The Absolute Sound