ANDY BISKIN
Dogmental
GM
3044CD

Talk about a sleeper! The goofy cover art and the liner notes detailing film-maker / clarinetist / composer Andy Biskin’s classical background and fond childhood reminiscences of playing oom-pah music at the local Wurstfest gave me pause. From the first reverberations of Ben Allison’s bass on "Laughing Stock," however, I knew that "Dogmental" was going to be the flavor of the month in my house. Not only does Biskin’s music achieve that perfect balance between structure and improvisation: it goes one step further. Biskin also pays considerable attention to the manner in which soloists are presented in the context of his compositions. Thus, both compositions and improvisations burn brightly. Better yet, the improvising from all quarters is ceaselessly inventive and exciting. Though classical influences abound, Dogmental never feels fussy or overwrought. Though Biskin cites the monumental work of the Steve Lacy / Roswell Rudd quartet as his main influence, my mind went back a few more years to the wonderful Pee Wee Russell quartet with valve trombonist Marshall Brown. (While I’m at it, will someone please get off their ass and reissue New Groove and Ask Me Now!) True, trombonist Bruce Eidem has more than a little of Rudd’s bluster, and like both Lacy and Russell, Biskin’s sense of collectivism is rooted in Dixieland. A few of Biskin’s compositions ("Rondel," "Off Peak," "Field Days") even have a Lacy-like lilt to them. To my ears, though, Biskin’s concept, like Russell’s, has more of a cool, schooled, chamber jazz patina. Biskin’s group swings more like Russell’s. It’s not that Lacy’s group doesn’t swing, but it is swing of a different sort! Unlike both Lacy and Russell, Biskin’s writing (and playing) reaches back farther than Dixie into Klezmer and other European traditions for inspiration. Far from being some sort of avant-Euro whitebread exercise, Dogmental veritably drips with soul and sauce. Part of the credit goes to Biskin’s estimable sidemen. Drummer Matt Wilson continues to amaze me with his resourceful, creative, swinging skinsmanship. Trumpeter Ron Horton, who helped illuminate Andrew Hill’s Dusk with brassy fire, turns in yet another inspired performance. Trombonist Bruce Eidem is a new name to me, and his playing here is first-rate. Featured on four selections, the alternate rhythm section of Bruce Hall and Andy Eulau is, to my pleasant surprise, every bit as capable and inventive as Wilson and Allison. Throughout Dogmental, Biskin and his band invest this music with the effortless skill, warmth, humor and spontaneity that characterizes all truly great art. Listening to this disc, I readily understood that these guys were having fun, so I had fun, too!

Dave Wayne

Track Listing: 1. Laughing Stock; 2. Field Days; 3. Sad Commentary; 4. As The Crows Fly; 5. My Sentiments Exactly; 6. Dogmental; 7. Little Elsa; 8. Rondel; 9. No Bones; 10. Tabler Manners; 11. Good Question; 12. Brunching at the Bistro; 13. Story Line; 14. Flim Flam; 15. Off Peak

Personnel: Andy Biskin, clarinet; Bruce Eidem, trombone; Ron Horton, trumpet (all tracks except 3, 6, 10, 13); Ben Allison, bass (except 3, 6, 10, 13); Matt Wilson, drums (except 3, 6, 10, 13); Andy Eulau, bass (3, 6, 10, 13); Bruce Hall, drums (3, 6, 10, 13)