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JOHN TCHICAI
Danish-Congolese saxophonist John Tchicai has been at the leading edge of modern jazz since the early ‘60s, when he teamed up with Archie Shepp, Bill Dixon, bassist Don Moore, drummer J. C. Moses, and Don Cherry (who replaced Dixon) in the New York Contemporary Five. Later, he recorded with John Coltrane (Ascension) and co-founded the New York Art Quartet with Roswell Rudd, Milford Graves, and bassist Lewis Worrell. Returning to Denmark, he recorded a volcanic big band record (Afrodisiaca on MPS), and worked with adventurous Danish rockers Burnin’ Red Ivanhoe. Since then, Tchicai seemed to be one of a legion of incredibly gifted, hard-working modern jazz artists who just never seemed to get a record out on this side of the Atlantic, though he is featured on a fistful of Pierre Dorge’s recordings for the relatively accessible Steeplechase label. The past few months have been busy ones for Tchicai (who has since taken up permanent residence in Northern California), and happy ones for his fans over here in the United States. The NYAQ reconvened and recorded a blustery, energetic, old-school free jazz session for the Japanese DIW label. Almost simultanoeusly Infinitesimal Flash was released on Angelo Verploegen’s Buzz label. At this rate, Tchicai isn’t even close to spreading himself too thin. Infinitesimal Flash is a recording of tremendous range, vitality, and awe-inspiring musical authority. The first tune, "Kippieology," bristles with fierce rolling energy reminiscent of some of the best free jazz recordings of the '60s. Tchicai, soloing first, has a rough, burry tone and a thoughtful approach that contrasts nicely with Wong’s harder tone and more urgent playing. The next two tunes, "Autumn Moon" and "Alishan" are Wong’s adaptations of traditional themes. That both work uncannily well is no surprise: Tchicai has extensive experience in a variety of traditional idioms, and Wong’s knowledge of diverse ethnic musics is well-established through his recordings for his own AsianImprov label. "Autumn Moon" starts as a duet for flute and soprano saxophone. Their interpretation of the theme shows deep respect for, and knowledge of, the traditional idiom. The second time through, the tempo slows and the reeds are accompanied by Lane’s bass and Marucci’s cymbal filigree. Here, there is a bluesy inflection to the theme, and Tchicai launches into a fine solo. His soprano sax recalls Wayne Shorter’s more daring efforts for Blue Note in the late '60s. The tempo races as Wong enters on flute, and his solo ends in a sunny tumult before they return to the theme. "Alishan" features the first of several gripping tenor saxophone duet improvisations. The approach works well as both Tchicai and Wong, while committed to making the music work, have strong musical personalities and remain quite distinct. In the liner notes, Keith Thompson draws a parallel with the work of Warne Marsh and Lee Konitz: a very apt comparison. Bassist Adam Lane shines on "Melvin Truss" and "Persistence," both Francis Wong compositions. "Melvin Truss" is a stunning multi-themed exploration of the ballad form. "Persistence" is a deeply emotional composition that starts off like a stormy ballad, but develops and blossoms into a fierce uptempo quartet improvisation. Lane’s rich tone, innate swing, and vibrant, creative improvisations seem to follow in the footsteps of the late, lamented Fred Hopkins. His arco work on "Persistence" is every bit as good as what I’ve heard from the best European conservatory-trained bassists. Marucci brings a lot to the table as well: on several tunes he switches seamlessly between brushes, mallets and sticks, and his playing is swinging and blustery thoughout, though he never overpowers his bandmates. Most admirably, Marucci shines as brightly on the ballads as he does on the uptempo stuff. "The Boat Is Ready" is a puckish, off-center, light-hearted romp in the spirit of the classic Ornette Coleman Quartet. Several of the next few pieces are a bit more abstract, but no less interesting. Though both "Space Without Time" and "Infintesimal Flash" feature sampled voices and electronics, neither come across as gimmicky or cheap. "Og Her Ligger Vi Saa!" features an abstract groove over which Tchicai delivers a recitation in some other language (Danish?). Both "Decide for Yourself" and Marucci’s "T’s Groove" have a bunch of unexpected twists and turns, all artfully negotiated by the quartet. In summary, Infinitesimal Flash is a delightful recording in the post-Ayler mode, full of color, life, humor, and emotion. I recommend it most highly. Dave Wayne Track Listing: 1. Kippiology; 2. Autumn Moon; 3. Alishan; 4. Melvin Truss; 5. Persistence; 6. The Boat is Ready; 7. Decide for Yourself; 8. Space Without Time; 9. Og Her Ligger Vi Saal; 10. T’s Groove; 11. Infinitesimal Flash Personnel: John Tchicai, tenor sax, soprano sax, flute, voice; Francis Wong, tenor saxophone, flute; Adam Lane, bass; Matt Marucci, drums, percussion
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