Ellery Eskelin: Five Other Pieces (+2)
...three reviews, December 1999
By Glenn Astarita
Tenor saxophonist Ellery Eskelin is no stranger to serious advocates of
modern jazz and is perhaps among a handful or select few of relatively
young jazz artists who are reformulating jazz concepts into a
refreshingly new medium, as we approach the millennium. - Recently, Down
Beat Magazine cited Eskelin among the 25 most important "under-forty"
musicians in jazz.
A conspicuous jazz ambassador, who frequently tours the globe, Eskelin
continues to pursue previously uncharted territories while possessing
remarkable technique and a distinguishable, deeply personalized style.
Eskelin's distinct approach to the tenor sax draws upon inspiration from
the grand masters of yore which is evident on his 1996 "Soul Note
Records" tribute to the late Gene Ammons titled, The Sun Died. Here,
Eskelin along with drummer Kenny Wollesen and guitarist Marc Ribot turn
in a fitting and luminous homage to the hard hitting and soulful post-bop
saxophonist Gene Ammons. Eskelin's enterprising and exploratory
adventures were also evident on three releases, recorded for the "JMT",
"New World CounterCurrents" and "Avant" record labels, led by the highly
acclaimed drummer Joey Baron . A bass-less Trio, Eskelin along with
trombonist Steve Swell and Baron were playfully melding the avant-garde
with down home folksy and spirited jazz-blues idioms, as these recordings
were critically praised. Ellery Eskelin's creative juices and estimable
talents can also be heard on bassist Mark Helias' 1998 outing titled,
Fictionary recorded on Gunther Schuller's "GM Recordings" label. Here,
Eskelin and violinist Mark Feldman trade some of the most viscous and
heart-rendering soloing you will likely hear in jazz. Another fairly
recent release of note finds Eskelin once again performing with Mark
Helias and the gifted drummer, Tom Rainey under the moniker "Open Loose".
Titled, Come Ahead Back and released in 1998 for the "Koch" jazz label,
the Trio swing and skirt the fringes of free-jazz led by Eskelin's
fervent, gutsy, fleet-fingered and altogether explosive tenor sax work.
Eskelin can also be heard on drummer Gerry Hemingway's fine 1998 release,
Johnny's Corner Song which is an intriguing live set recorded for the
"Auricle Records" label.
Eskelin's individualistic and thoroughly non-conforming ways came to the
forefront with a notable and critically praised mid 90's release on the
"Songlines" label, titled "Jazz Trash". This band featuring wunderkind
drummer Jim Black and accordionist - sampler expert, Andrea Parkins sowed
the seeds for the advent of his the current working unit who have found a
home with Swiss-based Hatology records. Here, no one gloms the spotlight
as Eskelin performs with his peers while everyone gets ample room to show
their respective goods in what has rapidly become one of the most
amazingly original, penetrating and dare we say......"cutting edge" units
in the business. With that, we take an in-depth look at Ellery Eskelin's
integral contributions to this quite prolific band, and how three
distinctly unique voices converge and inadvertently add new subject
matter to the ever-evolving face of modern jazz.
* (For additional information, e.g.; Biography, Discography, Articles
please check Ellery Eskelin's website:
http://home.earthlink.net/~eskelin/ - as we also look forward to
Eskelin's upcoming diary of his current European tour, which will be
published here on "All About Jazz" in the January 1st 2000 issue)
See All About Jazz contributor Allen Huotari's thoroughly intriguing
interview with Ellery Eskelin at:
http://www.allaboutjazz.com/iviews/EEskelin.htm
Released in November '99, Five Other Pieces (+2) is perhaps Eskelin's
crowning achievement thus far and what a better way to begin the
proceedings than to cover John Mclaughlin's fusion classic "The Dance of
Maya". Eskelin states in the liners "I've always wanted to have a band
that could play this. Now, twenty five years later, I've got one". On
this piece, Eskelin, Parkins and Black offer the listener a sense of
implied urgency as this affair ignites in a hurry. Originally performed
by "The Mahavishnu Orchestra", the band advance this arrangement into a
hard-edged and downright nasty blues motif, as Ms Parkins' cunning
accordion performance adds an otherworldly dimension to this composition
while the group's overall sound becomes bold and unyielding. Here,
Eskelin performs with conviction and tenacity without sacrificing the
recurring theme and melody atop Jim Black's firm, well-pronounced pulse.
Following "The Dance of Maya" and while the listener may now need a
prescription in order to reduce high blood pressure or ease the flow of
adrenaline, the band fire back with a stunning rendition of Bop pioneer,
Lennie Tristano's composition titled, "April". On this piece, Eskelin's
stunningly beautiful introductory tenor sax solo is literally poetry in
motion and would make most students of the tenor sax, cringe with delight
and awe. Eskelin is ablaze with fluid razor shop Bop lines, while
exhibiting an inordinate amount of control along with intuitive yet
dashingly modern free-bop interplay between accordionist Andrea Parkins
and Eskelin who trade fours amid various motifs. Of special note is Jim
Black's swashbuckling approach to drumming as he pays a bit of homage to
masters such as Gene Krupa while utilizing his heavy low pitched bass
drum in unison with his deft brush work on the snare. Young Jim Black has
carved out an easily identifiable niche for himself as one of the premier
drummers on the jazz-planet who possesses a finely honed, signature
style. The opening sequence to John Coltrane's modern classic "India"
features Andrea Parkins' slick commingling of grand piano and Hammond B-3
midi patches or samples that conjure up an eerie or mysterious aura which
subsequently enlivens the quasi-spiritual or exotic connotations of this
piece. We might add that Ms Parkins is an established and much acclaimed
solo artist witnessed by her innovative work on "Knitting Factory
Records", and needless to state a vital and most important contributor
to this band. Through all of its airiness and ambiance, Trane's "India"
evolves into a multifaceted series of rhythmic explorations by Black who
injects odd-metered and slightly funk-orientated structures and passages
as Eskelin restates the familiar theme through pronounced choruses.
Invention and an appealing stylistic approach come to the forefront here
and throughout as this band while obviously enjoying themselves also
institute a bundle of astonishing twists and turns while the listener
gasps in wonderment!
The group cast yet another bag of tricks into this seemingly unlikely mix
with a hearkening rendition of bassist Charlie Haden's "Song for Che"
which is culled from Haden's now legendary 1969 "Liberation Music
Orchestra" LP. Here, they seize LMO's sense of bravado and suspense via
Eskelin's emotive performances on tenor sax featuring a pensive and
somewhat kaleidoscopic bridge. The band turn in a soulful if not
enigmatic version of Gershwin's "Prelude II" as Ms Parkins creates
somewhat of an abstract French-cabaret style atmosphere via an
intelligible methodology as a skilled practitioner of the accordion and
piano. Eskelin's composition, "Cause and Effect" features an abundance of
group dialogue as Ms Parkins performs the bass part which adds bounce and
gusto to the various movements that evolve, gain momentum then disappear.
Eskelin is an extremely intelligent composer as the band converge,
contemplate disparate themes, employ African rhythms and work matters out
as though they were collectively composing a short story via lucid
imagery. On "Cause and Effect", Eskelin whips his tenor sax into a frenzy
through meticulous, rapid-fire and somewhat brooding phrasing while
making every note count leaving an ineffaceable impression on the
listener. The final track, Eskelin's "Ways and Means" clocks in at
seventeen minutes as the band take you on a winding road through
dissimilar passages accented by Ms Parkins' enticing representation of
the recurring melody line performed on piano. Other highlights are Jim
Black's polyrhythmic, quick-witted drum solo and Eskelin's enticing yet
highly technical and difficult circular breathing passages.
Simply stated, Five Other Pieces (+2) is an exceptional showing from this
band who perform on the bleeding edge of the jazz spectrum as they
consequently set themselves apart from the rest. - A truly irresistible
rendezvous with three musicians who are making a big difference; hence, a
true power Triumvirate for the modern jazz age! An eventful outing and
easily one of the top picks for 1999! * * * * *
Personnel: Ellery Eskelin; Tenor Saxophone: Andrea Parkins; Accordion &
Sampler: Jim Black; Percussion. Produced by Werner X. Uehlinger
All compositions by Ellery Eskelin except: "The Dance of Maya" (John
McLaughlin), "April" (Lennie Tristano), "India" (John Coltrane), "Song
For Che' (Charlie Haden) and "Prelude II" (George Gershwin)
Hatology website: www.hathut.com
Ellery Eskelin's other 1999 release for Hatology is a series of duets
with Dutch-based yet internationally recognized master drummer, Han
Bennink. On Dissonant Characters Eskelin and Bennink display sharp-witted
creativity through ten pieces, commencing with "Flutter". Here, Eskelin's
phrasing seemingly adheres closely to the title, as he performs fierce
soulful and at times playful lines along with Bennink's often
polyrhythmic yet swinging approach. You would swear there are two
drummers launching the attack! The title track, "Dissonant Characters"
pretty much says it all as the duo engage in abstract and highly
conversational interplay. Bennink is on fire here, as he ruminates ideas
in furious and somewhat maniacal fashion. Again, we are treated to some
startlingly viscous soloing by Eskelin coupled with instantaneous
on-the-fly improvisation by both. A perfect match, as Bennink is no
stranger to duet settings, which is also evident on his splendid
recording with Swiss pianist Irene Schweizer, reviewed on AAJ in Oct '99.
The piece titled, "Bud + Shake" finds Eskelin digging deep into his
arsenal while emitting steely edged, gritty lines atop Bennink's
turbo-charged pulse and fluctuating tempo as the duo also perform raw and
earthy versions of Monk's "Sight Unseen/Brilliant Corners". Here, the
gentlemen deconstruct Monk's odd-metered choruses and off beat rhythms as
they get to the bottom of things rather quickly with foot stomping,
finger snapping motifs then, it's off to the races! The duo also
perform a straightforward and quite emphatic rendition of Monk's "Let's
Cool One". Bennink commences with a devastating drum solo on the piece
titled, "Pro Tanto" which evolves into a rapid-meter Bop-pulse while
Eskelin mirrors Bennink's rhythmic permutations with circular and
variegated passages as this recording comes to a rather explosive end.
The old saying, which goes something like, "nowhere to run, nowhere to
hide" applies here. Few "twosomes" can pull off such a multifaceted,
witty, captivating and highly entertaining series of duets while
maintaining the listener's interest throughout. Dissonant Characters is a
sparkling exhibition from this mini coalition of two modern day jazz
champions... * * * *
Personnel: Ellery Eskelin; Tenor Saxophone: Han Bennink; Drums. Produced
by Pia and Werner X. Uehlinger.
All compositions by Eskelin & Bennink except: "Sight Unseen/Brilliant
Corners" & "Let's Cool One" by Thelonius Monk.
Hatology website: www.hathut.com
Kulak 29 & 30 is the second Hatology release from the Eskelin, Parkins
and Black band, the first being the powerful, artfully rambunctious and
borderline free-jazz outing titled, One Great Day which was issued in
1997.
On Kulak 29 & 30, the band begin with a slightly rollicking and rolling
or better yet - mutant roadhouse organ Trio motif on the composition
titled, "Departure". Here, Jim Black establishes a solid backbeat atop
Andrea Parkins' scintillating Hammond B-3 organ samples while Eskelin is
a human flame-thrower, emitting gutsy, vigorous and clear-toned lines as
if his life depended on it! "Rhyme or Reason" features more delightfully
punchy Hammond B-3 choruses from Andrea Parkins' underneath Eskelin's
bluesy yet heated phrasing and acute sense of dynamics. Subsequently, the
band evoke a large and expansive sound of a climactic nature as the band
intermingle blues and rock with a dose of surrealism thanks to Ms
Parkins' skillful and creative utilization of the sampler as the sky is
the limit for these folks.....Throughout, these musicians concurrently
investigate vertical and horizontal movement while producing gobs of
impact. The composition titled, "Organum" moves about as a free-style,
highly conversational vehicle featuring a beguiling and shrewdly crafted
solo by Eskelin. Jim Black pursues a hodgepodge of rhythmic ideas on the
intensely climactic "Visionary of the Week", as he keeps the fire lit
amid Eskelin's frantic and spurious activities while Ms Parkins is the
colorist performing on accordion. The final piece, "Expubidence" is a
Free-Bop style excursion with cool yet buoyant lines along with effective
organ work from Ms Parkins. All in all, a most satisfying set as this
band are well on their way to establishing a unique identity and a most
promising future in jazz.
Kulak 29 & 30 is an exquisitely expressive work yet besides the
serious-mindedness, subtle intricacies and complexities behind the music,
the band offer a strikingly entertaining mix, which unto itself speaks
encyclopedic volumes. In summary, Eskelin, Parkins and Black convey an
incomparable yet extremely palatable conceptual approach that offers the
optimum in modern jazz entertainment! * * * * 1/2
Personnel: Ellery Eskelin; Tenor Saxophone: Andrea Parkins; Accordion &
Sampler: Jim Black; Percussion. Produced by Pia and Werner X. Uehlinger.
Hatology website; www.hathut.com
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eskelin@earthlink.net