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| 5.061 Ft
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| 1. | Book of Krittika
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| 2. | Wheel of Life
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| 3. | Celestial
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| 4. | Desire Worlds
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| 5. | Astral Earth
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| 6. | Savaka
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| 7. | Bardo
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| 8. | Anagami
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| 9. | Vata
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Jazz
Recorded: December 2, 2009, Systems Two Studio, Brooklyn
David S. Ware - stritch, tenor sax, saxello
William Parker - bass
Warren Smith - drums, tympani
All compositions by David S. Ware with Parker & Smith;
Produced by Steven Joerg and David S. Ware
Recorded in (((3D SOUND))) by Michael Marciano.
Mixed and mastered by M.M. at S.T.S.
Cover artwork (front -&- back) by Richard Cohen (thank you!) design/layout by ming@409
The recording and release of Onecept celebrates David S. Ware's 50th year of singular and profound saxophone artistry; a studio session specifically arranged for same featuring Ware on three saxophones – saxello, stritch, tenor – along with fellow musical masters William Parker (stalwart fellow prophet) on bass and Warren Smith (also featured on Ware's album Shakti) on drums and tympani. Unlike almost every previous album Ware has made in the past 20 years (Corridors & Parallels being another exception), there was no rehearsal for this session; the songs/streams were created fully in the moment of creation, trusting in collective skill to manifest the majesty.
Onecept is an impeccable entry in the oeuvre of his recorded works. By the time you read this, the Trio will have made their public performance debut at the Vision Festival, NYC in June, 2010. Their next performance will take place at the Blue Note, NYC on October 4, 2010. Please, take my advice: be there if you are here then.
David S. Ware on Onecept:
"The express intent is that time and space, which is a relative thing, on this record, the way in which I'm playing, time and space is collapsing. It is folding in on itself and that is bringing on a different reality."
William Parker on Onecept:
"We trimmed off a lot of the outside rays of the glow, and we're in the circle inside the light now. A different side of things is showing."
Steven Joerg on Onecept:
"Exquisite next phase in this modern Master's development. All new temples of sound. David wanted Warren to play tympani on this and I'm so glad that he did. Recording engineer Michael Marciano outdid himself here. Your brain can swim in this (all recorded live) mix. (((3D SOUND))) indeed!" --SJ
David S. Ware's Onecept was recorded to celebrate his 50th year of playing saxophone; the sessions took place a year after the session's initially planned recording date due to his undergoing a kidney transplant. It follows Saturnian, the 2009 album of a completely improvised solo concert that Ware played using his tenor, a stritch, and a saxello. Those horns are present here too, and like that live date, this studio session is completely improvised on the spot with no previous rehearsal with bassist William Parker and drummer Warren Smith. It marks the first time in his career he's recorded this way. Ware introduces the date with "Book of Krittika" unaccompanied for 53 seconds before Parker enters playing arco elegantly, as Smith employs a timpani, playing sparely, quietly, before bringing a cymbal into play. This is truly free jazz, spontaneous, collectively envisioned, and played with an integrity of spirit that is almost entirely free of overindulgence. On "Celestial" and "Bardo," Ware searches for something out of earshot of the other players momentarily. The rhythm section, rather than trying to fill in the gap in that understanding, simply begins to react to the way his soloing develops, then articulates what he eventually finds. Smith in particular does an outstanding job of finding a place not behind but between Ware and Parker, adjusting his idea flow, and extending it into dialogue. Force, momentum, and dynamic shift around that collectively new voice and something is born into a previously unimagined sound. "Astral Earth" is an extended blues meditation with Ware on stritch where everything is in perfect balance; it's the most beautiful thing here. He begins "Desire Worlds" with an insistent flurry of notes on saxello that is not furious, but busy. Parker adds ballast by bowing a series of deep-register phrases that underscore the frenetic speech; because of the repetitive nature of his playing, he anchors it in mantra-like articulation. Smith finds accent points at the expulsion of Ware's breath, and then uses his notes not to fill, but to push the conversation further in that direction. This is the beauty in this kind of improvisation, when it works as it does here. Far from being a mere blowing session, it is instead a listening session, where everything centers around what these players hear individually and collectively. Certainly there are moments when the dialogue gets a little bottlenecked, but it frees itself with movement and space rather than just force. Ware's development as a player is no longer reliant on his physicality -- though he still possesses it in abundance. Rather, it's his centering on that collective voice, which offers so many dimensions and textures to explore, where he expresses his creativity and mastery of his horns. Onecept is an exciting next step in Ware's musical evolution. ~ Thom Jurek, Rovi
David S. Ware
Active Decades: '80s, '90s and '00s
Born: Nov 07, 1949 in Plainfield, NJ
Genre: Jazz
Styles: Free Jazz, Avant-Garde Jazz, Jazz Instrument, Saxophone 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. Shakti featuring the three-part title suite appeared in 2009. The live solo recording Saturnian: Solo Saxophones, Vol. 1 followed in 2010, as did the trio release Onecept with William Parker and Warren Smith, on bass and drums respectively
--- Chris Kelsey, Rovi |
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