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CD |
| 4.500 Ft
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| 1. | Howling Circle
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| 2. | Anhinga
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| 3. | Prowl
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| 4. | Chanting
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| 5. | 7th Sister
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| 6. | Rain Bearers
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| 7. | A Dangerous Game
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| 8. | A Closer Walk with Thee
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| 9. | Najime
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Jazz / Modern Creative; Improvisation
Recorded: Mar 25-26, 2005
Erik Friedlander - Cello, Liner Notes
Andy Lawster - Clarinet, Sax (Alto)
Satoshi Takeishi - Percussion
Stomu Takeishi - Bass (Electric)
Erik Friedlander is the foremost jazz cellist in the world today, a consummate artist that Billboard Magazine has lauded as "One of today's most ingenious and forward-thinking musical practitioners." Prowl is Friedlander's fourth CD with his group Topaz, which includes saxophonist Andy Laster and the amazing Takeishi brothers on electric bass and percussion. Prowl features eight original compositions based on vibrant African rhythms, and a haunting version of the traditional "A Closer Walk With Thee."
* Alex Cline - Graphic Design
* Ashley Thayer - Photography
* Gareth Jiffeau - Graphic Design
* Jeff Gauthier - Producer
* Kathy Koller - Cover Art
* Kurt Gellersted - Photography
* Rich Breen - Engineer, Mastering, Mixing
A deceptively smooth recording from the Erik Friedlander Quartet (sometimes going by the name of Topaz), Prowl offers the paradox of complex improvisational music so adroitly executed that its particular virtues might be overlooked by the casual listener. Originally set up by Friedlander as a trio composed of himself on cello, Andy Laster on alto saxophone and clarinet, and Stomu Takeishi on electric bass, Topaz were a deliberate experiment in music-making without a chordal instrument, e.g., keyboard or guitar. However, the absence of rhythmic thrust restricted the energy of the group to the extent that Stomu's brother Satoshi was eventually added as a percussionist. In the past, Friedlander has taken exception to the term chamber jazz -- at least in relation to his music. Admittedly, it's a lazy critical term that can be applied to any jazz music that comes across as more cerebral than visceral, as the music on Prowl surely does. However, Prowl's music is far from effete (if that's the basis of Friedlander's objection), nor is it written out and merely re-created (which may also be a sticking point for Friedlander). The nine pieces featured on this CD often involve some very unusual time signatures, but since Friedlander is not adverse to a deep groove, the music has both mental and physical dimensions. Melodically, the pieces reflect all sorts of world elements (Latin, African, klezmer, Dixieland) without self-consciously imitating any particular style or form. Likewise, the deft interaction among the musicians goes well beyond the standard jazz solos with sympathetic accompaniment. The Takeishi brothers do not confine themselves to the role of timekeepers. As evidenced by their interaction on the title piece and several others in the program, they could probably command the listener's attention just as a duo. Stomu's electric bass is involved in an ongoing dialogue with Friedlander's cello. Likewise, Laster's alto sax, in particular, blends with the cello to the extent that it is sometimes impossible to tell where the one stops and the other starts. And while Laster and (of course) Friedlander are masterful soloists, it's clear on this CD that Friedlander has moved well beyond simple virtuosity and has used his compositional skills and the collective talent of his group to capture something much more elusive and valuable. This is music with legs, which reveals new depths and delights even after long exposure. Highly recommended.
---Bill Tilland, All Music Guide
Erik Friedlander
Active Decades: '90s and '00s
Genre: Avntg
Styles: Modern Creative, Chamber Jazz, Avant-Garde Jazz
Cellist Erik Friedlander grew up exposed to R&B and jazz since his father photographed many album covers for Atlantic during the '50s and '60s. During his childhood and high school years, Friedlander was involved in chamber groups, his school orchestra, and a local rock band. He enrolled at Columbia University in 1978 to pursue a music degree, but it wasn't until a year later, upon hearing and speaking with bassist Harvie Swartz, that Friedlander decided to become a professional musician. Shortly thereafter, he joined Swartz's quintet, and the group released Underneath It All on Gramavision. His idea of what role a cello could play in jazz and modern music changed when he heard Hank Roberts in the string trio Arcado. Not too long after this, Friedlander began working with saxophonists John Zorn and Marty Ehrlich and trumpeter Dave Douglas. He performs on Douglas' 1993 release on Soul Note entitled Parallel Worlds. The next year, he formed his own group, Chimera, a quartet with clarinetists Chris Speed and Andrew D'Angelo and bassist Drew Gress; the group has two CDs out on Zorn's labels, Avant and Tzadik. Friedlander still performs classical music -- he has been principal cellist with Marin Alsop's Concordia, for instance -- but is focusing more on composition and improvisation; he's toured the U.S. and Europe with Joe Lovano, Myra Melford, John Zorn, and more. Friedlander has made appearances in the pop realm, too, having contributed parts to CDs by Maxwell and Dar Williams; he even performed on MTV with Courtney Love's Hole. In 1996, he formed the group Topaz -- originally to accompany a dance recital his wife choreographed -- which brought together Andy Laster and the rhythm section of brothers Satoshi and Stomu Takeishi; they recorded a self-titled album (which Siam released) the end of that year. Besides being busy with Topaz, the close of the '90s found Friedlander playing in a new quartet inspired by the work of Balthus, called the Game of Patience, with Ikue Mori; Skin followed in early 2000. In 2001 he released Gates of Paradise for Tzadik's Radical Jewish Culture series, followed by Quake in 2003, a collaboration with rhythmic Japanese siblings Stomu and Satoshi Takeishi. That same year, Friedlander released his first solo outing, the sparkling and literate Maldoror. 2006 saw the release of Prowl.
---Joslyn Layne, All Music Guide |
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