LAN XANG
Hidden Gardens
Naxos Jazz
86046-2

Lan Xang is one of those groups I’d heard a lot about before I actually heard. Frankly, I wasn’t all that excited until I realized that the entire group appeared on alto saxophonist David Binney’s wonderful 1995 recording The Luxury of Guessing (Audioquest AQCD-1030). Though only three tracks on Lan Xang’s sophomore effort, Hidden Gardens, were written by Binney, the other members of the group (tenor sax man Donny McCaslin, bassist Scott Colley, and new drummer Kenny Wolleson) share his omnivorous approach to composing and improvising. It turns out that these fellows have been working together for quite a while: McCaslin and Wolleson even gigged together as teenagers. When I heard Hidden Gardens for the first few times, I couldn’t help but think of Weather Report’s best work. It’s not that Lan Xang have that ‘70s fusion sound. Rather, like Weather Report, Lan Xang has a readily identifiable group sound, but takes enough chances to subvert the encroachment of formula and routine.

Lan Xang’s two-horn front line is very appealing. Though both are very modern players, neither are screamers and both use dynamics and pacing very effectively to build and hold the listener’s interest. Binney has clearly found his own voice, though the influence of players like Steve Coleman and Greg Osby is quite evident in the swirling lines of his solos on the title track, "Mode Four," and "Gradual Impulse." McCaslin’s playing in George Gruntz’ Big Band (for example) seemed to be more or less in line with that of big-toned, largely tonal, post-Trane tenor saxophonists like Bob Berg, Michael Brecker, David Schnitter and Dave Liebman. Here, he varies his approach and comes across as a much more thoughtful (though not excessively studied or careful) improvisor. His solo on "The Restless Many" is a study in tension and release. Colley (who wrote two tunes on Hidden Gardens) and Wolleson do much more than supply the rhythmic impetus. Both contribute all sorts of colors and melodic nuances.

The music on Hidden Gardens manages to be all over the place stylistically, and yet possesses a very appealing sense of unity. There are surprises aplenty here and several of the tunes are rather complicated, though they are executed in such a relaxed, offhand way that they seem simple. "Trinity Place" opens up with a convoluted, Ornette-ish head taken at a breakneck tempo, and then the bottom falls out for a Gregorian Chant-like saxophone chorale. "Segues" and "Hidden Gardens" are all about Kenny Wolleson’s groove, though McCaslin and Binney steal the show on the latter. There are a half dozen group-composed improvisations ("Xang Six" through "Xang Eleven") that range from gently undulating electronic soundscapes ("Xang Six", "Xang Seven") to free jazz vortices stirred by Wolleson’s drums ("Xang Eight", "Xang Ten"). "Free To Dream" is an honest-to-god jazz anthem, and one would hope that someday Lan Xang would get to play it in a stadium full of lighter-waving young fans. This is a real good ‘un.

Dave Wayne

Track Listing: 1. The Restless Many; 2. Trinity Place; 3. Xang Six; 4. Segues; 5. Mode Four; 6. Incurable Dreaminess; 7. Hidden Gardens; 8. Xang Seven; 9. Xang Eight; 10. Gradual Impulse; 11. Parting… From a View; 12. Xang Nine; 13. Free To Dream; 14. Xang Ten; 15. Xang Eleven

Personnel: Donny McCaslin, tenor and soprano saxophones, flute, Tunisian horn, percussion; David Binney, alto saxophone, clarinet, sampler; Scott Colley, bass, percussion; Kenny Wolleson, drums, percussion