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
Gabriele Tranchina – A Song of Love’s Color (Jazzheads – 2010)
It appears that exacting pitch is not really important in the grander scheme of things, for Gabriele Tranchina’s singing. Although it seems likely that if she really wanted to this vocalist could nail the exacting pitch of the notes themselves with perfection, Tranchina eschews the exactitude of notation to scale impossible heights of emotion. In this respect she is like a storyteller who uses lyric passages to let tales of longing and other elusive emotions unfold with the songs she sings. As a vocalist Tranchina often coaxes her voice to stretch beyond its contralto comfort zone. This is no mean feat as there appears to be no strain at all. On the contrary, Tranchina never fails to surprise with the manner in which she is able to hold onto notes higher than her normal vocal range.
Another important feature of Gabriele Tranchina’s singing is that she is able to sing with stylish facility in French, Portuguese, Spanish and English as well as in her native German. On A Song of Love’s Color Tranchina even manages to navigate through a wonderful Sanskrit chant, “Asato Maa (Sat Chit Ananda).” This, of course, has everything to do with her Germanic roots—Sanskrit and German having the same linguistic origins. Nevertheless, the haunting rendition is memorable. Her version of “Today,” seemingly written almost exclusively in a diatonic mode is also quite exquisite as the song seems perfect for her method of intonation. And this is probably Gabriele Tranchina’s main vocal strength.
Through the velvety softness of her voice, Tranchina delivers lyrics with a deep sensitivity for the feeling of their underlying emotions. The song, “Duérmete Niño Bonito” is a perfect example. Here Tranchina displays emotion in equal measure whether she singing wordlessly or otherwise—in English or in another language. The dramaturge of the music is all in the manner of delivery. On “Voz” she turns wordless vocalizing into a fine art and in addition, displays exquisite interplay her band mates, especially with bassist, Santi DeBriano. The Panamanian-born, New York-based musician shows why he is so much in demand as an accompanist by other instrumentalists.
In his foray with Tranchina, DeBriano displays a wonderful sensitivity for the delicacy of the human voice as he goads the vocalist into realms of outstanding arabesques as well. The songs, “Solamente Pasiòn” and “Siehst Du Mich” are two of the finest examples on this record. On the latter, DeBriano undertakes an arco con brio arabesque of his own as he plots a brooding course throughout the song, ending in a single note that he holds down to establish the elemental pain of the character in the German poem. And this makes DeBriano the other star of the record.
However, it is clear from Tranchina’s performance that she is a vocalist of the highest order. Her style is not conventional. She may not ever sing an aria, but when she interprets the narrative of a song and gets in to character she has few peers. Anything new from her will be a welcome addition to the literature of vocal music.
Tracks: Chante Comme Si Tu Mourir Demain; A Song of Love’s Color; Samba De Uma Nota So; Today; Sing a Song of Children; Inutil Pasagem; Asato Maa (Sat Chit Ananda); Duérmete Niño Bonito; Voz; Solamente Pasiòn; Siehst Du Mich.
Personnel: Gabriele Tranchina: vocals, background vocals; Joe Vincent Tranchina: piano, background vocals; Santi DeBriano: bass; Renato Tomas: percussion, background vocals; Bobby Sanabria: drums, background vocals; Roberto Sanabria: background vocals.
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Gabriele Tranchina on the web: www.gabrieletranchina.com
Review written by: Raul da Gama
