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| 4.391 Ft
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| 1. | One Year Later
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| 2. | Love for Sale
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| 3. | Two Years Later
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| 4. | Train Kept a Rollin'
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| 5. | I've Got a Crush on You
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| 6. | Three Years Later
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| 7. | Sacrifice
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| 8. | Imagination
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| 9. | Four Years Later
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| 10. | Five Years Later
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| 11. | Miss Ann
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| 12. | Six Years Later/Lonesome Fugitive
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| 13. | Seven Years Later
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| 14. | A Good Year for the Wine
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| 15. | Eight Years Later
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| 16. | Corcovado
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Jazz / Free Jazz, Avant-Garde Jazz, Free Improvisation
Han Bennink - Drums
Eugene Chadbourne - Producer, Guitar (Acoustic), Fender Rhodes, Arranger, Vocals, Liner Notes, Banjo, Design, Guitar (Electric)
21 Years Later is an extended improvisation by Han Bennink and Eugene Chadbourne which also includes a selection of songs. Just like the Crescent Special the duo of Han Bennink and Eugene Chadbourne rolls on through the musical night, stopping every now and then to take on some passengers. This is a recording of a very special night in Atlanta, Georgia. Han puts Eugene in a mellow mood, and when Dr. Chadbourne starts singing you don't know whether you want to smile or cry.
Leo Feigin - Producer
Netherlands drummer Han Bennink and American guitarist Eugene Chadbourne share a similar approach to the live concert, each playing continuous sets of alternating free improv moments and strange renditions of songs from the jazz, pop, rock, and country repertoires. Hearing them playing together sounds natural to anyone used to the music of either. Yet, 21 Years Later (Train Kept a Rollin') adds little to their discographies. Bennink remains surprisingly discreet, letting Chadbourne lead the way. His playing doesn't push the guitarist to extremes as much as Paul Lovens, another regular collaborator. Short segments of free improvisation (all titled "x Years Later" -- no, there aren't 21 of them) are interspersed among pages from the guitarist's usual songbook. Some of these pieces were released on the superior two-CD set Young at Heart/Forgiven (with Lovens) in 2000 and the comical 2001 album Motorhellington with the Italian quartet Zu (namely the cover versions of Motorhead's "Sacrifice" and Jobim's "Corcovado"). The only concession made to Bennink is the short "Miss Ann" by Eric Dolphy. Everything else is pure Chadbourne, especially proficient on vocals this time around. The sound quality would be quite good if it weren't for the fact that whenever the guitarist hits his distortion pedal the volume of his instrument drops below the drums. 21 Years Later is an honest record, enjoyable mostly for fans of the Doctor, even though it brings nothing new to the table. ~ Francois Couture, All Music Guide
Han Bennink
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Apr 17, 1942 in Zaandam, The Netherlands
Genre: Jazz
In the niche-oriented world of major-league jazz, it's almost unfashionable to be so multi-faceted a player as Han Bennink. Bennink is one of the unfortunately rare musicians whose abilities and interests span the music's entire spectrum, from Dixieland to free. His straight-ahead playing is absolutely convincing -- his time is solid, his sense of swing strong, and his technique flawless. He also possesses the requisite qualities of a free jazz virtuoso; Bennink's ability to interact quickly and creatively with horn players and pianists is great, as is his ear for timbral contrasts. What ultimately makes Bennink special is his manifest love for the music, a love that inclines him to tear down the cardboard walls that too often separate different schools of jazz. At his best, with colleagues who share his all-encompassing stylistic embrace, Bennink plays the continuum of jazz as an instrument unto itself.
Bennink began playing drums while in his teens under the influence of his father, a classical percussionist. He played with hometown musicians in the early '60s. Between 1962 and 1969, Bennink backed local American jazz greats like Dexter Gordon, Sonny Rollins, and Eric Dolphy on their visits to Holland (he was the drummer on Dolphy's Last Date album, from 1964). In 1963, he formed a quartet that included pianist Misha Mengelberg, which played the 1966 Newport Jazz Festival. In the mid-'60s, Bennink began to play free jazz with the likes of Mengelberg and Willem Breuker. In 1967, those three founded the Instant Composer's Pool, a not-for-profit organization designed to promote the Dutch jazz avant-garde. Around that same period, Bennink began continuing associations with the saxophonist Peter Brotzmann, guitarist Derek Bailey, trombonist Alex Schlippenbach, trumpeter Don Cherry, and the Globe Unity Orchestra. In the '70s and '80s, Bennink led and played as sideman on a number of sessions on the FMP, Incus, and Soul Note labels; he made a notable contribution to Steve Lacy's Herbie Nichols tribute album, Regeneration, with Mengelberg, bassist Kent Carter, and trombonist Roswell Rudd. In the late '80s, Bennink started, with cellist Ernst Reijseger and saxophonist Michael Moore, the Clusone Trio, which has since become perhaps the percussionist's most ideal performance vehicle. Both Reijseger and Moore share Bennink's extraordinarily wide range of musical interests, to say nothing of his absurdist sense of humor. It is, in fact, Bennink's rather whimsical theatricality that mitigates -- for some, at least -- the seriousness and depth of his art.
---Chris Kelsey, All Music Guide |
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