FUTTERMAN/PARKER/WILLIAMS
Authenticity
Kali Records
0109

CHRISTOPHER ADLER TRIO
Live In Los Angeles
Black Phone Records
BPRCD 0003


Both of these independently-produced discs are evidence for the continued fecundity of the end-of-the-century free improv revival. That said, one could argue that Virginia-based pianist / multi-reedist Joel Futterman is no revivalist. After all, his first self-produced LPs appeared in the late 1970s and early 1980s, when free jazz was all but dead and forgotten. These early recordings portray Futterman as a hyperkinetic free improvising virtuoso with a rather strong stylistic debt to Cecil Taylor. As if to wave a red flag in the face of his detractors, Futterman subsequently recorded with prominent Taylor sidemen such as bassist Norris "Sirone" Jones and alto saxophonist Jimmy Lyons. Authenticity, a cooperative production on guitarist Jimmy Williams own Kali imprint, finds Futterman in the company of another Taylor associate; bassist William Parker. Futterman has also been working with a curved soprano sax and bamboo flutes for over a decade, and Authenticity shows that hes on his way to becoming a convincing soloist on these instruments as well. If nothing else, Futtermans horns provide some respite from his incredibly dense pianistics.

Authenticity is basically a good old-fashioned free jazz blowout. Energy music. Fortunately, Parker, Williams and Futterman are an empathetic trio. The music is presented here in its entirety, warts and all. While it is inevitable that some sections get a bit aimless and noodly, the quality of the music on Authenticity is mostly very high. The least-known player here, guitarist Jimmy Williams, makes significant contributions to these proceedings. Hes a clean-toned, McLauglinesque, jazzy sort of player a bit like Bruce Eisenbeil, perhaps, but with a pleasantly phlegmy distorted tone and a heavier investment in the blues. Williams seems to be aware that hes not going to outplay Futterman, so he emphasizes texture, inflection, note choice, and wit over sheer pyrotechnics. Parker is very well-served by the CDs dry sound quality and no-frills production. His bass really sings out over the guitar and piano, and his playing on this disk is truly amazing.

The Christopher Adler Trio, based in Southern California, also deals in total free improvisation, but with decidedly different results. These three are much younger than Futterman, Parker and Williams. Pianist Adler and multi-reed player Lechusza, both heavily involved in the contemporary classical arena (Adler has a Ph.D in composition and teaches music at UCSD), are also formidable improvisors. Lechusza, in particular, is a player with a fully mature style. Here, he adapts his cliché-free approach to extended improvisations on flute, and soprano, alto, tenor, and baritone saxophones. Adlers piano style is less abstract and somewhat more conventionally jazzy than Futtermans, though he can really get out there when he wants to. Like Richard Bierach and Paul Bley, Adler revels in dense, complex harmonies. Yet, he plays quite forcefully, with a rippling rhythmic feel, similar to Lonnie Liston Smith or McCoy Tyner. Drummer Vikas Srivastava is generally effective, though somewhat limited in this context. He is a fine colorist, and he is sensitive to the both direction and dynamics of the music. However, his reliance on rather obvious rhythmic patterns tends to weigh the music down, keeping either Lechusza or Adler pinned in place while the other solos.

The three tracks that comprise Live In Los Angeles function as improvised mini-suites. Both Aloft and Akash have stretches of pastoral, pensive, almost ECM-like sounds, with Lechuszas emotive, eloquent reeds soaring over Adlers dense, rich chords. With Srivastava adding rhythmic elements, the result is reminiscent of some of Pharoah Sanders later recordings for Impulse. Srivastavas most effective playing occurs during the latter part of Aloft, where he tips the balance of the trio toward the darker vortices of chaos. Here, Lechusza and Adler respond with some of their most inspired playing of the set. Akash, basically an Adler / Lechusza duet, begins with an intense, five-minute-long, Shakuhachi-inspired flute solo. Adlers entrance, and his meditative, pointillistic solo, reveals his modern classical influences. Their ensuing dialogue is playful and attractive without being lightweight. Lechusza switches to the baritone perhaps his most effective axe to open Transcontinental, which heads in an appealingly raucous, rockish direction. Though this piece starts out with lots of energy and interesting angles, its momentum dissipates as the trio becomes entrenched in Srivastavas somewhat
heavy-handed, insistently rhythmic approach. Even so, Lechusza and Adler manage to chip in with some startlingly creative ideas.

Despite some flaws, both of these releases affirm that free improvisation is alive and well, everywhere in the US (i.e., not just in New York, Chicago and San Francisco). Futterman and Parker are established players who deserve our continued support. Jimmy Williams, Alan Lechusza, Christopher Adler, and Vikas Srivastava are new faces on the scene whose talents demand attention.


--Dave Wayne


Track Listing Authenticity: 1. Arrival; 2. Authenticity Part 1; 3. Authenticity Part 2; 4. Reflection

Track Listing Live In Los Angeles: 1. Aloft; 2. Akash; 3. Transcontinental


Personnel Authenticity: Joel Futterman, piano, curved soprano sax, flutes; William Parker, bass; Jimmy Williams, electric guitar (except 4)

Personnel Live In Los Angeles: Adler, piano; Alan Lechusza, woodwinds; Vrikas Srivastava, drums