Few have summed up
Tim Berne
's music better than longtime collaborator, producer, and engineer
David Torn
. In the liner booklet to
The Fantastic Mrs. 10
, he writes, "Tim's music has always had balls, always this courageous energy; and it's not so much being badass, it has the nerve of progress!" That is particularly apt for this recording. It's
Berne
's and
Snakeoil
's debut outing for
Intakt Records
after three dates with
ECM
. Guitarist
Ryan Ferreira
, present on the band's last two outings, has been replaced by longtime
associate (and criminally under-celebrated) Danish-born guitarist
Marc Ducret
. His tenure with the bandleader dates to 1991's
Pace Yourself
with
Tim Berne's Caos Totale
; he was also a member of
's
Big Satan
and
Bloodcount
groups.
The majority of these eight tracks are very much of a piece. They combine the saxophonist's love of closely notated charts, making abundant use of angular harmonies, elastic rhythms, dissonance, and counterpoint, and they both complement and highlight the group's well-established collective improvisational language. A student and disciple of
Julius Hemphill
,
's musical logic and philosophy flow with a formally constructed direction (not destination) through elaborate compositional strategies. It's as if the sharp angles this music pursues in labyrinthian fashion resolve naturally on a sonic map, with identifying (land)marks added during the moment of execution. The title-track opener finds
offering a nearly
Monk
-esque theme to clarinetist
Oscar Noriega
and pianist
Matt Mitchell
. Drummer
Ches Smith
lays a break-ridden, funky shuffle over the top. As the frontline players solo,
Ducret
plays directly at and in response to
Smith
(there is no bassist in this band), coloring the tune's spine with angular riffs, vamps, and fills. "Surface Noise" is introduced quietly by
Mitchell
's piano and glockenspiel. His lines course stream-like into rivulets of sound replete with waves of undulating motion. Its flow eventually quiets as
Noriega
's clarinet bleats whale-like from the margin, and
's shards of noise trace color and texture. The remaining players bridge melody, dynamics, and improvisation in conclusion. The lone cover here is a short reading of
Hemphill
's ballad "Dear Friend" rendered harmonically faithful. It's adorned by brittle guitar glitches and percussion feints. "The Amazing Mr. 7," expresses complex rhythmic and lyrical phraseological figurations through the ensemble's group interplay. It's a strategic unfolding, in staggered melodic inflections, that also sounds indebted to
's example. Producer and engineer
does a stellar job of illuminating the complexities in
's balanced tightrope walk between formal composition and free playing. The sound on
is not as pristine as on their
recordings, but it's preferable. There are no implied senses of added space or icy coolness. This set crackles with rooted physicality. The sometimes-explosive interaction takes place in a close environment (like focused conversation).
's music remains tough, permeable, idiosyncratic as hell, and alive with the possibility of the next moment. ~ Thom Jurek