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Kérjen
árajánlatot! |
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| 1. | Nine
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| 2. | Bekei
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| 3. | Spoonin'
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| 4. | Life As
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| 5. | It
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| 6. | Is
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| 7. | Dew
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Jazz
Recorded at Avatar Recording Studio, New York, New York on August 4 & 5, 1998
Dewey Redman (tenor saxophone); Cecil Taylor (piano); Elvin Jones (drums)
Includes liner notes by Cecil Taylor, Dewey Redman and Philippe Carles.
Few names conjure the ideal of sonic adventurousness as distinctly as those of Dewey Redman, Cecil Taylor, and Elvin Jones. With MOMENTUM SPACE, this explosive triumvirate comes together to present an uncommonly challenging and intriguing recording. At every turn, Redman's expressive wails, Taylor's dynamic explorations, and Jones' bombastic thunder seem to challenge the very laws of nature. Indeed, what we hear are three musical forces converging as one, pushing, pulling, blasting, and pounding their way into uncharted territory.
The opening "Nine," an eleven-minute wall of sound that proceeds to shake the foundations of all you hold dear, should be enough to clear away any preconceptions. "Bekei," Jones' staggering solo piece, is an inspiring percussive statement that only a master of his magnitude could proclaim. The Redman/Jones duet "Spoonin" blasts us with the spirit of Coltrane before Taylor leads us on a solo journey of the imagination with "Life As." "It" and the epic "Is" are much too complex to explain with words, but the bizarre sounds that Redman produces on the brief "Dew" can be described with but one: unforgettable.
All one has to do is look at the personnel on this trio project (tenor saxophonist Dewey Redman, pianist Cecil Taylor and drummer Elvin Jones) and it is obvious that the set is potentially special. Taylor, still the most adventurous musician in jazz at that point after 45 years, does not get grouped into all-star settings very often. However, when he does (his earlier encounter with the Art Ensemble of Chicago is an example), it is not a matter of the other musicians meeting Taylor halfway; instead, they have to be creative in his idiom. Tenorman Redman came to fame originally while playing with Ornette Coleman in the late 1960s, and for part of the time on Ornette's recordings, Jones was the drummer; however, neither Redman nor Jones had worked with Taylor before. Not every selection on this disc includes all three musicians. Jones takes a brief drum solo, Taylor has a solo feature and the final 49 seconds are taken up by the saxophonist alone. In addition, there is a duet without Taylor that works quite well. The other strong selections are the two longest trio tracks: "Nine" and the over-20 minute "Is." Redman and Taylor contributed three originals apiece while Jones was just responsible for his unaccompanied "Bekei." Although it is fun to hear Elvin Jones playing behind Cecil Taylor, and Dewey Redman is open to this type of atonal setting, there are fewer sparks on this set than one might expect. The music is unpredictable yet not all that unique or colorful and one's expectations for a truly classic affair are not quite reached. This is worth listening to, but is not essential except as a historical curiosity.
---Scott Yanow, Courtesy All Music |
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