Paul Austerlitz – Journey (Innova Recordings – 2008)

There is very little precedence for Journey, a work of striking newness and dazzling virtuosity, by the reeds player, Paul Austerlitz. First of all it occupies a rather narrow stream in Afro-Caribbean music—Dominican music of African origin—and secondly it is largely played on reeds of the very lowest register—only the great Anthony Braxton ventures there. It combines Yoruba chants with African and jazz musical idioms; contemporary poetry and entrancing musical expeditions that few have been inspired into producing. This is an ambitious work of complex, symphonic proportions even though it features few instruments: reeds, percussion, piano, the bass violin and—this is what sets it apart—the human voice.

To a large extent this is Austerlitz’s exegesis of the exodus of the African Diaspora as it melded into the Caribbean nation the Dominican Republic on an island, significantly, shared by that other maverick nation, Haiti. Of no less significance is the fact that like the avant garde musicians of the 60’s and the new movement occupied in solitary splendour by Anthony Braxton, the music flows like a flood tide as it finds a powerful confluence in the music of Charlie Parker and the bebop musicians. Moreover, Austerlitz succeeds in melting away the barriers that constrict musical literature by so-called genre. This truly exciting musical journey begins and ends in the African realm as it subsumes the “New World” that even Europe cow-towed to during and for centuries after The Age of Enlightenment. Perhaps Africa is the “New World” after all and the new Age of Enlightenment has dawned there.

Austerlitz’s journey begins with a powerful invocation to the Orisha, Elegba—or as he calls her, Elegbára. The music of “Bara Súwà Yo” is united in spectacular fashion with the contemporary spoken word—Logos in majestic ascent with ancient chants rendered as rhythmic figures fused into a spectacular whole by Austerlitz’s bass clarinet. “Underground Palo” in the second sequence of the musical score is the new Spiritual, a fascinating chart whose escarpment overlooks John Coltrane’s “Song of The Underground Railroad” and features a might chant that plays off the other instruments, especially the hypnotic ritual Afro-Dominican “palos” drumming. Freedom from slavery is gloriously suggested here as the music merges into a spectacular improvisation on one of Austerlitz’s reeds.

“Journey” is a fascinating addition to the symphony and is written in multiple meters as the music criss-crosses its way—like the exodus of the African Diaspora—through India, where the drone of the sitar blends with the talking drums of Kwaku Kwaakye Obeng. Nineteenth Century impressionistic modes collide with amorphous Indian ragas and African polyrhythm. The clarinet colors the musical canvas in several overdubbed incarnations. The resultant music is quite simply spectacular. In the subsequent sequence Austerlitz’s music traverses another hundred years. The significance of the jazz idiom cannot be over emphasized enough as the composer and performers zigzag their way through the last significant movement in its history—bebop. Austerlitz’s reworking of Charlie Parker’s “Ornithology” gives new importance to Bird’s masterpiece.

In the fourth section of this symphonic work, Austerlitz finds himself confronted by the staggering beauty of the geography of his new universe. The harmonics of “Mountains” is as striking as the vertical prospect of the topographical vistas and the linear arpeggios also suggest the extent of the musical canvas. Here, too, Austerlitz recomposes over a classic modern chart: His “East Broadway Merengue” is a startling revisit to the musical environs of Sonny Rollins’ classic “East Broadway Rundown,” which is superbly recast here. The setting is so apt for Michael S. Harper’s poetry, featuring sassy swaggering rhythms in three sections that bring the journey close to the formidable close that returns the music to an African canvas in a coda that features solo work on reeds by Austerlitz.

The musicians are masterful throughout. Led by Austerlitz, who soars like a great bird with a reed and a thermal only to swoop and tumble at every turn with graceful abandon. His solo improvisations are brimful with fresh ideas. His intonation is masterly and his phrasing gentle and evocative. Austerlitz is the consummate technician, but whose virtuoso skills are put to perfect use with emotional readings of his work and in some cases the compositions of others. His ensemble is also blessed with great talent—Santi DeBriano, Barry Olsen the percussionists, especially Phoenix Rivera, are just a few of those who perform with great skill and emotion too.

This is a work of great mastery and importance. It is only a matter of time before it receives its just desserts.

Tracks: Chapter One: In-Vocation: Bara Súwà Yo; Chapter Two: Palo and Beyond: Underground Palo; One Peace; Journey; Thunder Flow; Chapter Three: Merengue and Bebop: Ornithology; Sisterhood is Powerful; Santiago; Chapter Four: Poetry and Song: Mountain’s Music; A Place Inside; East Broadway Merengue (Featuring “The Latin American Poem”); Two Poems (Featuring “Br’er Sterling and the Rocker” and “Twiddlin’ Thumbs”); World Consciousness-Arena (Featuring “Corrected Review”); Chapter Four: Out-Vocation: Bara Súwà Yo (Reprise).

Personnel: Paul Austerlitz: contrabass clarinet, bass clarinet, clarinet, tenor saxophone, voice; Barry Olsen: piano ( 1 – 3, 7, 10, 13); Gustavo Rodriguez: keyboards (6, 9, 11); Angelina Tallaj: piano (8); Santi DeBriano: acoustic bass (1, 3, 12, 13); Bernie Miñoso: acoustic bass (2, 5, 7, 10); Dave Zinno: acoustic bass (4); Juan Valdéz: electric bass (6, 9, 11); Phoenix Rivera: drum set (2, 5, 7, 10); Royal Hartigan: drum set (1, 3, 12, 13); Wellington Valenzuela: drum set (6, 9, 11); Kwaku Kwaakye Obeng: donno, cowbell (1, 3, 4, 13); José Duluc: palos, balsié, güira, voice (2, 5, 7, 10); Julio Figueroa: tambora, conga, bong& #243, güira (6 – 8, 10, 11, 13); Michael S. Harper: poet (11 – 13); Regie Gibson: spoken word (1); Renee Cologne: voice (9, 10).

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Paul Austerlitz on the web: www.paulausterlitz.org

Review written by: Raul da Gama

Bobby Matos – Unity (LifeForce Jazz Records 2008)

Whatever music Bobby Matos chooses to inhabit is sure to be brimful – even overflowing – with energy. On this record, Unity, Matos attempts to take his bandmates on a profound, if rhythmic journey. He is attempting to almost metaphysically mirror here the rhythm of the earth in a state of constant unifying – swinging, heart-beating, bebopping – rhythmic revolution. And he lets the music do the talking, or dancing, as is more likely the case.

It is axiomatic that Bobby Matos represents all that is rich and rhythmically interesting about the Puerto Rican music scene. Matos is also well versed in the other subtly shifting Latin rhythms and a master of the Afro-centric universe from where it has derived – jazz included. Lest there be a suggestion that there is only a rhythmic vibe to be excited here on this record, it is important to be clear about Matos’ penchant for harmonic invention and long liner melodies, whether written or interpreted by him.

His own composition, “Da Londons From Da Bronx ,” is typical of this: a melodic plena that is hugely humorous as well. “Oiganlo” the lilting charanga son is another example. To be sure this record pays glowing tribute to the traditional while recasting these forms in a daring modern context. The audacious, jazzy bomba, “Ritmo Bembe” and the recasting of Horace Silver’s classic “Peace” as a lilting bolero are complemented well by a stellar son, “McCoy.” Also, on “Peace,” just as he does on Wayne Shorter’s “Mahjong,” Pablo Calogero reveals just how raw and beautifully he can p[lay tenor saxophone. On “Cuchy Frito Man,” the quirky bomba, he is equally virtuosic on flute, while Dan Weinstein makes it a double whammy with his sophisticated violin. Weinstein returns on “Bronx ‘Trane” on the deeper viola and then for a pleasantly surprise as he doubles on trombone, of all instruments. His solos on “Mahjong” and “No Down, No Feathers” are truly magnificent.

The guests on this record – Chembo Corniel on percussion, Phoenix Rivera on drums, Binky Griptite on guitar, Bosco Mann on bass and The Mighty Echoes make wonderful bedfellows for Matos throughout the tunes that they play on. In fact the musicians on the record connect with each other on many levels and this is one of the main reasons why the music succeeds smoothly and seamlessly. Frank Fontaine stars on tenor, on the hypnotically modal “Bronx ‘Trane.” Pianist, Theo Sanders and Dan Weinstein also solo here with particularly beautiful expressiveness.

This is an accomplished record by every stretch of imagination. While much of the props would automatically go to Matos for guiding it where it must go, the whole group participates as it should – with hypnotic and beautiful unity throughout.

Tracks: Mahjong; Ritmo Bembe; Cuchy Frito Man; Ritmo Yambu; McCoy; Oiganlo; Peace; Bomba Sica; No Down, No Feathers; Algo Diferente; Da’ Londons from Da’ Bronx; Iyesa Afro Beat; Bronx ‘Trane; Soul Zambique.

Personnel: Theo Saunders: piano; John B. Williams: bass; Pablo Calogero: tenor saxophone, flute; Dan Weinstein: trombone, violin; Robertito Melendez: conga, Quinto, pandereta; Jud Matos: percussion; Bobby Matos: timbales, congas, guiro, bell; Frank Fontaine: tenor saxophone (13); Edwin Livingstone: bass (13); Special Guests: Chembo Corniel: congas, percussion; Phoenix Rivera: drums; Binky Griptite: guitar; Bosco Mann: bass; The Mighty Echoes: vocals.

Bobby Matos on the web: www.bobbymatosmusic.com

Review written by: Raul da Gama