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MUSIC<br />
MUSIC<br />
JAZZ & BLUES<br />
Ihave always been a sucker for contrasting<br />
elements that wind up making more of <strong>the</strong>mselves<br />
than you initially bet <strong>the</strong>y will. You know, <strong>the</strong> old<br />
1 + 1 = 3 thing, where <strong>the</strong> recipe contents are<br />
seemingly at odds with each o<strong>the</strong>r, but <strong>the</strong> yield<br />
is epic. Cecil Taylor attacking <strong>the</strong> upper register of<br />
his piano while Tony Williams taps at that high-hat<br />
in “Morgan’s Motion.” Or Malachi Favors flailing at<br />
his bass as Lester Bowie evokes some sweetiepie<br />
romance on <strong>the</strong> trumpet during one of <strong>the</strong> Art<br />
Ensemble’s excursions. Dissonance has its poetic<br />
side, and in <strong>the</strong> right hands, contrarian clashes<br />
can produce a rich form of consonance—beauty<br />
lurking within <strong>the</strong> friction.<br />
Food<br />
This Is Not a Miracle<br />
ECM, CD<br />
©Photo by Knut Bry<br />
Food, <strong>the</strong> ever-shifting Euro<br />
ensemble centering on Norwegian<br />
percussionist Thomas Strønen and<br />
UK saxophonist Iain Ballamy, milks<br />
this tack for manna on its third<br />
ECM album. Joined by Austrian<br />
guitarist Christian Fennesz (who<br />
helped <strong>the</strong> group calibrate its last<br />
two ECM discs, Quiet Inlet and<br />
Mercurial Balm), <strong>the</strong> collective sets a<br />
series of pacific maneuvers against<br />
a backdrop of percolating beats<br />
and fuzzy guitar clouds. With each<br />
new turn, Food captures an antsy<br />
eloquence that blends art-music<br />
extravagance with modern pop<br />
pithiness.<br />
“The Concept of Density”<br />
features a galloping drum pattern<br />
effected with brushes, a string of<br />
laconic tenor peels that gives <strong>the</strong><br />
music a heartache vibe, and humid<br />
guitar shading that momentarily turns<br />
to gnarled guitar scraping. On paper,<br />
<strong>the</strong>se elements could be strangers<br />
that just met at a bus stop. But by<br />
<strong>the</strong> time <strong>the</strong> track subsides, <strong>the</strong>y<br />
feel like family. “Exposed to Frost”<br />
puts that same plaintive horn sound<br />
on a turbulent bedrock of churning<br />
electronic drones and skittish trapset<br />
punctuations. Somehow, it<br />
evokes tranquility.<br />
To call <strong>the</strong> work jazz might be<br />
fibbing a bit; <strong>the</strong>se pieces aren’t<br />
concocted in real time. Each member<br />
of Food is a skilled improviser, and<br />
toge<strong>the</strong>r, <strong>the</strong> trio hit <strong>the</strong> studio to cut<br />
its initial sketches. (continued)<br />
100 TONE AUDIO NO.75<br />
November 2015 101