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| 1. | Spirit of Jah
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| 2. | Thickets
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| 3. | Mudpie Anthem
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| 4. | Dance No. 1
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| 5. | Flight
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| 6. | The Folksinger
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| 7. | Side by Side
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| 8. | Underground/Overground
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| 9. | Eliahu
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Jazz
Marty Ehrlich (alto saxophone, flute, wood flutes, clarinet, bass clarinet); Vincent Chancey (French horn); Erik Friedlander (cello); Mark Helias (bass); Don Alias (percussion)
This is an aptly named quintet. Reed player and composer Marty Ehrlich here assembles players who create a rich and woody resonance. In addition to the expected rhythm section he also incorporates a French horn and cello. The music eschews standard trap set drumming, favoring either no percussion or richly textured orchestral approaches. The opening number, "Spirit of JAH" is in memory of saxophonist Julius Hemphill, an important early mentor of Ehrlich's. It has the feeling of both a celebratory dance as well as the emotionally subtler shadings of funereal solemnity.
Ehrlich has explored the combined sounds of cello and bass on other recordings, notably EMERGENCY PEACE with bass player Lindsey Horner and cellist Abdul Wadud. Working in the quintet format allows him further bracing combinations of timbres to work with, making this a stellar release.
* Arthur Moorhead - Executive Producer
* Devin Emke - Assistant Engineer
* Don Alias - Percussion
* James Farber - Engineer
* Paul Zinman - Digital Mastering
* Steve Byram - Design
* Tony Gillis - Assistant Engineer
* Wayne Horvitz - Producer
The second Darkwoods Ensemble recording for multi-woodwind instrumentalist/composer Ehrlich is a true winner, and a progressive jazz icon for the '90s. To paraphrase Ehrlich's own description of his music "Sounds startle the air... birds call across as if the light won't come... these sounds will find a center or the center will change... metal hued breath across strings... birds in the darkness, waiting for no one... open the door, wake these sounds, just before the dawn." Ehrlich is assisted in this quest by French horn player Vincent Chancey, bassist Mark Helias, cellist Erik Friedlander, and percussionist Don Alias.
At their most free and uninhibited, the group digs in on "Side By Side" with Ehrlich's clarinet setting off some unison lines and a cello-bass-conga groove bridge, or there's the scatter shot improv, prompted by serious bass clarinet and goofy French horn, with terpsichorean tuneful unison during "Dance #1." Elephantine clarion calls from Chancey with other animals chattering on a freely associated "Underground/Overground" is a prelude for swooping bird sounds via the strings and quite soulful unison horns in this segmented piece. Also highly developed is the risky "Flight" starting as a whack waltz, going to multi-faceted lighthouse beam spotted melodies, and an intense, free bridge that suddenly stops, making way for introspective, collective meditations. As complexly written is "Thickets," with haunting cello, ethnic percussion, minimalist, repeated clarinet and NYC urgent traffic motifs. A more mournful bass/cello/alto sax informs "Mudpie Anthem" with additional chamber-like counterpoint. The most tuneful asides are the wood flute/percussion Afro-Cuban groove of "Spirit Of J.A.H." (for Julius Hemphill), the heavy bass/bass clarinet ostinato of "Eliahu," and the lilting, beautiful, tuneful flute/plucked cello/shaker percussion beaut "The Folksinger."
This music needs to be heard by all who love a good joust from improvising musicians who fully understand shadings, nuance, power and glory. Highly recommended, and a high point in Ehrlich's substantial discography.
---Michael G. Nastos, All Music Guide
Down Beat (12/95, p.66) - 4.5 Stars - Very Good - Excellent - "These dark woods are both literal and figurative. The distinctive lineup emphasizes a `woody' sound....The listener focuses more on Ehrlich's writing and on the ensemble's interplay than on any individual soloist....JUST BEFORE THE DAWN satisfies on several levels, and rewards careful listening."
Option (1-2/96, p.89) - "...a five-piece unit that emphasizes strings as heavily as horns for a solemn sound more often aligned with classical than jazz music..." |
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