ramboy 05
€12.00
Michael Moore, alto saxophone, clarinet, bass clarinet, melodica; Ernst Reijseger, cello, voice; Han Bennink, percussion, harmonica, voice, piano, electronics
1. Wigwam (Moore) 5:16
2. Angelica [Purple Gazelle] (Duke Ellington) 5:31
3. Tlinglit (Moore/Bennink/Reijseger) 3:22
4. I'm An Indian, Too (Irving Berlin) 3:29
5. The Gig (Herbie Nichols) 6:40
6. I'm An Indian, Too (Irving Berlin) 2:56
7. Qow (Dewey Redman) 7:53
8. Bella Coola (Moore/Bennink/Reijseger) 4:27
9. Celia (Bud Powell) 6:47
10. Tsimshian (Moore/Bennink/Reijseger) 3:30
11. Sonoroso (Sebastião de Barros) 3:53
12. Mijn Geheugen Is Een Zeef (Misha Mengelberg) 4:12
13. The Song Is Ended (Irving Berlin) 6:55
14. Salish (Moore/Bennink/Reijseger) 2:35
Recorded live June through September, 1993, Calgary, Vancouver, Willisau,
Ulrichsberg, Bremen
This disc contains live recordings from Europe and Canada further documenting
the Clusone Trio’s evolution. This recording was later licensed by Gramavision (which promptly deleted it from their catalog).
"Some modernists avoid the past in quest of the unheard; some
postmodernists scrabble at historical references for want of anything
original to say. Clusone Trio neither aver the well-worn pleasures of
yesteryear nor do they use pastiche as an easy out. Aggressive,
playful, clamorous, baffling, romantic, cutting, diffident, fun--they’re a
perfect incarnation of the ambidextrous form of jazz that has been
evolving in Holland over the last three decades.
Thoroughly
drenched in swing, the threesome is powered by one of
the most dynamic engines in today’s jazz: drummer/percussionist Han
Bennink. As buoyant and full of joy as Papa Jo Jones, Bennink can break
from a full-tilt groove to release what sounds like a closet full of
junk,
then dive right back in again where he left off. He’s also prone to play
off or against his partners, and particularly in this trio he’ll
sometimes
wander away from a group activity or plr world. For listeners schooled
in action/reaction improvising, such aloofness may be frustrating.
But
Bennink likes to disrupt those closely held values, challenging his
audience to hear seemingly unconnected simultaneity as a valid approach
to improvising.
Reed
player Moore is an absolute marvel. His soft tone and rhythmic
panache give him a somewhat West coast hue (betraying his California
origins?) while an abiding love of Johnny Hodges is evident in his
seemingly
boundless melodicism. When Clusone turns to tunes like Berlin’s “The
Song
is Ended”, Bud Powell’s “Celia” or Sebastiao de Barros’ “Sonoroso”,
Moore’s
radiant tone sings out, though he’s no stranger to sharper and more
fragmented sound images, either. And now and then he’ll whip out his
melodica and blow plastic little chords for surreal effect. Surely the
most
versatile cellist around, Ernst Reijseger is perpetual thought-motion. He
can
lock in with Bennink, becoming Jimmy Blanton (if he’s walkin’) or
Freddis
capable of being as gonzo and nutty as Bennink, as gentle and sweet as
Moore, and adding sudden classical gasses (hear “Tsimshian”). On Dewey
Redman’s “Qow”, he lays down a hard blues, hits slick licks and
lithely
doubles Moore’s lines. And when Reijseger cuts loose, the sky’s no
limit.
These
very live-sounding recordings capture the thrilling trio mixing styles,
eras, energies--reveling in the exuberance of jazz. Don’t miss out.
John
Corbett,
"
"
- Cuadernos de Jazz
"1/2"
- Downbeat