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| 5.259 Ft
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| 1. | Planet E
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| 2. | Aaron's Tune
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| 3. | Black Woman
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| 4. | Our Theme
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| 5. | Dark Day
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| 6. | Lady's in Love
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Jazz
Recorded: December 3, 1996, Airwave Studios, Chicago, IL
Fred Anderson - tenor sax
DKV TRIO:
Hamid Drake - percussion
Kent Kessler - bass
Ken Vandermark - reeds
Graphic design: Louise Molnar
Photos (outside): Glenda Kapsalis
Photos (inside): Marty Perez
Compositions by Fred Anderson (Many Weathers/BMI)
Produced by: Ken Vandermark & Bruno Johnson
Executive Producer: Bruno Johnson
Engineer: John McCortney
Readers Choice for Top 30 Releases of 1997, Cadence, January 1998
Like Roscoe Mitchell, tenor saxist Fred Anderson is a Chicago legend, but coming from the opposite direction; where Mitchell epitomizes taut design and compositional concepts. Anderson is known for open, epic expressionist free-blowing, The combination of Fred Anderson and the DKV Trio (OkkaDisk, ****), however, puts him into an enclosed arena and pairs him with a vigorous sparring partner. The two tenors are marvelously matched - they modulate dynamics and dramatics as one while keeping their personalities distinct. Anderson likes to burrow deeply into a tune, as Vandermark ricochets off of its energy patterns. So, on "Aaron's Tune," Vandermark is fluent and excitable, while Anderson reveals his swing and bop sympathies with slightly laid-back phrasing. "Black Woman" is a lovely, mournful melody, and "Our Theme" is an old-fashioned high energy two-tenor chase a la Dexter Gordon and Wardell Gray. Add totally in-synch rhythm section support and you have an amazing 50 minutes of music.
--- Art Lange, Pulse, November 1997
The first recorded encounter between Anderson and Vandermark, who play regularly at the former's Velvet Lounge on the near South Side, the OkkaDisk CD is harder-edged. It’s an album of fiery (if friendly) jousting and, in the grip of Drake's dancing polyrhythms, onrushing intensity.
But this is more than a blowing session. A keen sense of structure and continuity defines this program of Anderson originals, as one jazz generation comes to terms with and inspires another. The saxists' unison lines, which on the mournful "Dark Day" create the moody intensity of Ornette Coleman's "Lonely Woman," have the organic connection of two leaves on the same branch. Ultimately, Fred [Southport] and Fred Anderson/DKV Trio are linked by what can only be called Anderson's philosophical bent. A sturdy wisdom and calm authority inhabit his notes, assuring his younger collaborators even as it prods them into never compromising in their pursuit of bandstand truth.
--- Lloyd Sachs, Chicago Sun-Times, July 20, 1997 |
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