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| 1. | Crossing Samsara
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| 2. | Nataraj
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| 3. | Reflection
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| 4. | Namah
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| 5. | Antidromic
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| 6. | Shakti: Durga/Devi/Kali
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Jazz
David S. Ware - Kalimba, Producer, Sax (Tenor)
Joe Morris Orchestra - Guitar, Percussion
William Parker - Bass
* Michael Marciano - Engineer, Mastering, Mixing
* Steven Joerg - Producer
When David S. Ware plays his distinctive tenor saxophone, one cannot help but think he is a direct disciple of John Coltrane, Archie Shepp, and David Murray. His edgy, dour, and dynamic sound retains a verve, control, and balance that many free improvisers cannot claim. This effort is inspired by the same spiritual precepts from India that inspired Coltrane in his later life, resulting in long drawn-out discourses that emphasize expressionism rather than pure melodic invention. Fans of this style expect nothing less, and when teamed with Top Five bassist William Parker, the veteran drummer Warren Smith, and the always innovative and diffusely rendered guitar of Joe Morris, Ware is able to cut loose whenever he feels the need, which is generally always. The opening "Crossing Samsara" goes from a brief blues swing to furious free bop, accented by the ever growing persona of Morris as a uniquely driven guitar master. Even at 18-plus minutes, "Nataraj" keeps an even pace and controlled tone, neither crossing an abstract nor distorted line. Parker's deft ostinato in 6/8 time gets the ball rolling, while Ware and Morris construct numerous call-and-response clips of chatty vocal-like sounds. Everyone gets a substantial solo, with Smith at the top of his game and Parker using his bowed bass to haunting effect. The three-part suite "Shakti" develops from clarion calls to arms, switching from short melody bursts to solo tenor, silence, and a hard bop coda. The most arresting jazz-oriented piece, "Antidromic" is based on a precept perfected by Ornette Coleman in its approximate note unison from Ware and Morris, leading to hard free bop. One changeup includes the ballad "Reflection," where Ware's fluid dynamics and terse but not abrasive style are showcased fully, with Morris entering later. The other -- "Namah" -- is perhaps the most multiethnic piece, as Ware plays the mbira/kalimba/thumb piano aside Parker's bowed harmonic overtures, darting and dancing, or calmly meditative. Those who enjoy the music of David S. Ware can easily relate to this excellent recording of his new music concept, backed by equally extraordinary players who perfectly understand his vision and purpose.
---Michael G. Nastos, All Music Guide
David S. Ware
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Nov 07, 1949 in Plainfield, NJ
Genre: Jazz
Styles: Avant-Garde, Free Jazz, Avant-Garde Jazz
The critical buzz aroused by David S. Ware's work with Andrew Cyrille and Cecil Taylor in the '70s had, by the late '90s, turned into a consonant roar. New York's collective jazz press -- always on the lookout for the music's next messiah -- crowned Ware the "King of Free Jazz" on the basis of his energetic quartet albums from the mid-'90s. Ware's band (with Matthew Shipp on piano, William Parker on bass, and, variously, Susie lbarra, Marc Edwards, or Whit Dickey on drums) became the decade's avant-garde supergroup by consensus, and Ware is indeed a splendid artist. His saxophone technique is total; unlike a good many free players, Ware does not base his style on any particular technical shortcoming or theoretical misunderstanding. His knowledge of functional harmony is above and beyond that of virtually any other free saxophonist. He's learned both the music and the horn up and down, inside and out, from the bottom up. In this respect, he's a true heir to Coltrane, who also based his free work on a comprehensive knowledge of his materials. Indeed, Ware's typical manner of performance -- modalfree, rubato, high-energy collective improvisation -- stems directly from Meditations-era Coltrane.
Ware's tenor sound is huge, centered, and multi-hued, all up and down its range. His facility is great, his imagination broad, and his expressive abilities immense. And no saxophonist now active plays with more unadulterated passion. Without question, he is a very, very fine, maybe even great player. His band, however, while certainly capable, has not proved to be on his level. Shipp is an excellent, Cecil Taylor-cum-McCoy Tyner pianist, but his best work has come as a leader of his own trio. With Ware, he often seems at a loss as to what to say in the midst of the band's hyperkinetic collective improvisations -- overwhelmed, or so it seems, by Ware's volcanic passion. Ware's finest, most complementary drummer has been Marc Edwards, a more roughly hewn and spontaneous player than the glib lbarra and the coloristic Dickey. Of Ware's bandmates, only Parker is his equal as a creative presence. William Parker generates energy like no other bassist; a band with Parker on bass doesn't need a drummer, so powerful is his percussive drive.
Ware played alto, tenor, and bari saxes in his teens. In the late '60s, he attended Berklee School of Music in Boston. There he formed a band called Apogee, which played around Boston until 1973, when the band moved en masse to New York. In 1974, Ware performed in a large Cecil Taylor aggregation at Carnegie Hall. The mid-'70s found Ware a member of drummer Andrew Cyrille's group, in a trio with trumpeter Raphe Malik, and on tour with Taylor. In 1977, he played in bop pianist Barry Harris' band; the two recorded a duo album that same year. Beginning in the late '80s, he renewed his association with Cyrille and played on the drummer's highly acclaimed Black Saint release Metamusicians' Stomp.
As a leader, Ware's recording career began in earnest with a pair of releases on the Silkheart label: 1988's Passage to Music and 1990's Great Bliss, Vol. 1. In the early '90s, Ware began recording for the Japanese DIW label; that company's 1991 release, Flight of I, was distributed by Columbia and remains in many ways the tenorist's most stunning work. The late '90s had Ware recording with his quartet for a number of independent companies, including most notably the alternative rock (and now-defunct) Homestead label. He signed to Columbia for 1998's Go See the World, issuing Third Ear Recitation on DIWKoch later that same year. Surrendered followed on Columbia in the spring of 2000. While continuing his rapid fire release schedule, he released Corridors & Parallels in September 2001 on the AUM Fidelity label. Freedom Suite followed in 2002, Threads in 2003, Live in the World in 2005, BalladWare in 2006, and Renunciation in 2007.
---Chris Kelsey, All Music Guide |
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