A new DKV Trio record is always welcome but how it ever came to be must have been a feat given their busy schedules. Ken Vandermark's commitments at home and abroad, as well as the relentless pursuit of "his" music seemingly keep him busy 366 days a year Further, the always captivating Hamid Drake has seen nis star rise over the past few years with various recordings and stints with the likes of William Parker and Fred Anderson. Kent Kessler's stature continues to grow and it won't be too long before he is as busy as the others given his remarkable technique and feel for the bass.
Fortunately for fans of ambitious music these three musicians are able to hit the road on occasion and as a consequence, this release is the result of a two week spring 2001 tour. Like its predecessor, 19913's excellent Live at Wels and Chicago, Trigonometry consists of two sets of music recorded at two different locations, featuring thematic elements from "classic" compositions used to stimulate further spontaneity and creativity. The performances are brimming with passion and inventiveness, featuring lengthy, continuous flows of musical ideas. As with other DKV Trio records, Vandermark focuses primarily on tenor and particularly excels on "Lift," utilizing altissimo and multiphonic techniques, as well as on Albert Ayler's "Love Cry " featuring both spiritual and lyrical expressions. Drake and Kessler push Vandermark throughout and make significant contributions to this group that is indeed a collective of equal membership.
While these exhibitions present a group truly in tune with one another what is most intriguing is being virtually present at two tour sets and being able to compare and contrast different interpretations of the same compositional elements. For example, the Rochester performance of Don Cherry's "The Thing" is driven by Drake's blistering Latin groove featuring alternating cowbell accents (try getting this groove out of your head); however, on the Kalamazoo performance, Drake employs a ride cymbal/rim shot combo and later, a disco funk beat. Another example arises on Rochester's "Brown Rice," which features beautiful and meditative bass clarinet playing by Vandermark during the entire song, while Kalamazoo's "Brown Rice" is stretched out funk with spiraling fervor propelled by the group interaction. Finally, "Awake Nu" presents - the starkest contrast, as well as the best example of the group's dynamic. The Rochester performance is a twenty minute expansive exploration, while the Kalamazoo performance is rougher and consists of a few minutes of the theme, followed by Duke Ellington's "Take The Coltrane" used here as a Coda.
My only minor complaint with this album is that sometimes Drake simply overpowers the other players. Like Elvin Jones during certain Coltrane performances or Elvin's own groups, Drake is such a powerful and captivating force that at times his playing is overwhelming. In the interest of full disclosure, however I saw this tour and Drake's presentation was so enthralling that I paid attention to little else. Perhaps this fact is represented in the recording mix.
This set is similar in its intensity, depth and passion to the excellent Live at Wels and Chicago. Those interested in these musicians or those looking for some important contemporary music would be advised to research this group, which, as always, remains accessible and challenging at once. |
