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York's avant-garde "Downtown"<br />
scene, plays an el(ceptionally fine<br />
neobop tJiUffipet when revisiting<br />
standards, and is the best<br />
Klezmer trumpeter in the<br />
business. He also composes<br />
classical music.<br />
And among his avantcgarde<br />
role models were the likes of<br />
bassist Charlie Hayden, who '<br />
accompanied Ornette Coleman in<br />
creating their pillar of the "new<br />
·thing," but is also noted for his<br />
understated and loving approach<br />
to jazz standards. And the<br />
godfather of New York's<br />
Downtown scene, John Zorn, has<br />
one of the meanest alto·<br />
saxophones around in each of the<br />
multiple genres that fuel his<br />
passion.<br />
This is the kind of path that<br />
Clutton is carving out for<br />
himself. The range of his playing<br />
extends from Steve Koven's<br />
piano trio, which has a regular<br />
gig playing standards at the<br />
Crowne Plaza, to frequent<br />
appearances at the· Friday night<br />
improv concerts performed at<br />
ARRA YMUSIC's studio loft.<br />
Clutton is the bass player for .<br />
NOJO (Netifeld-Occipinti Jazz ·<br />
Orchestra), the Toronto-based<br />
experimental big band that is well<br />
regarded in North American jazz<br />
cirdes. The Elbow duo,<br />
collaboration between Clutton and<br />
guitarist Tim Postgate, another<br />
mover and shaker in the local<br />
improv scene, has been going on<br />
for ten years. Postgate is also a<br />
member of Rob Clutton's sextet,<br />
which has just issued a very fine<br />
CD, Tender Buttons. Another<br />
intriguing duo involves fellow<br />
bassist Victor Bateman.<br />
T!) the quiet-spoken<br />
Clutton's ears, some of the most<br />
fascinating music happens when<br />
people who usually play "free<br />
jazz" switch gears to play free<br />
above the harmonic and rhythmic<br />
structures of bop. Free jazz<br />
opens up every dimension of<br />
music for simultaneous<br />
)<br />
improvisation. Clutton would<br />
like to try playing and composing<br />
music where one dimension at a<br />
time is open for open experiments<br />
while the other elements are held<br />
. constant.<br />
Rob Wannamaker comes<br />
to improvisation from an entirely<br />
different place. He is primarily a<br />
composer who also has a passion<br />
for playing and supporting<br />
improvised music.<br />
Wannamaker's preferred strands<br />
of improvised music issue from<br />
European innovations that ,.<br />
emerged from the 1960s -<br />
onwards. One strand emerged<br />
directly from European jazz,<br />
especially in London. Some of<br />
the U.K. 's best jazz musicians<br />
were inspired by the New Thingin<br />
New York and Chicago. They<br />
created a vigorous free jazz scene<br />
in London.<br />
At a second stage, there was<br />
a natural curiosity not.just to play<br />
this challenging new American<br />
music but also to make original,<br />
indigenous contributions. The<br />
net result was an improvised<br />
music that, among other things,<br />
moved away from the African<br />
American rhythmic instincts and<br />
intense energy levels that<br />
permeate avant-garde jazz.<br />
A third stage proceeded<br />
when some people began to think .<br />
about improvisation that<br />
proceeded from the framework of<br />
European composed music.<br />
Wannamaker points, for example,<br />
to performanees by the British<br />
guitarist and musical thinker<br />
Derek Bailey, who employs<br />
structures that clearly parallel<br />
Webern's compositional<br />
techniques. I'll put in my o·wn<br />
two cents here by suggesting that<br />
this decision would likely not<br />
have happened without jazz<br />
rekindling the impmvised<br />
dimension of classical music,<br />
which has been dormant since<br />
Beethoven and Schumann.<br />
When Wannamaker arrived<br />
PHILIP L. DAVIS<br />
Luthier<br />
formerly wit/1 J.J. SchrO