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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

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