Ken Vandermark is a restless soul. Not content to work with just say, a handful of projects, the multi-instrumentalist has contributed to, collaborated with, and organized countless ensembles, perhaps best confirmed by Seth Tisue's excellent online Vandermark Discography. While his extensive musical networking has no doubt fueled his creativity even further, it has paradoxically opened him up to varying degrees of criticism. Cries such as: He is flooding the market with product; or He is unfocused; or His work is merely derivative or inspired; or the frequent gripe, why should He get all of the attention when X deserves so much more (and thus, because of such "notoriety" he is oddly somehow less worthy as an artist??!!). While such statements might be a tad hyperbolic, the fact of the matter is that regardless of what some may claim, Vandermark is an artist who consistently attempts to explore different avenues and seeks to further his art, like a seasoned chess player plotting his next move. With such a multitude of releases bearing his association, not every one is a winner; however, there are many fine moments for those that have the inclination, the wallet, or the interest in seeking out his work.
Specifically, this survey looks at two different and recent trio projects, his Tripleplay group with Boston allies Nate McBride and drummer Curt Newton, and FME, his collective with bassist McBride and wunderkind drummer Paal Nilssen-Love. Worth noting at the outset is that both releases feature the knob-twiddling of Bob Weston (known for his work in many recording situations, as well as bassist for Shellac and sound manipulation for Mission of Burma). Weston captures both groups with an exceptionally "in the moment" sense of production that adds to the realism of both documents.
First up is Tripleplay's Gambit, the follow up to 1998's initial release on Boxholder, Expansion Slang. An ensemble based on years of experience with one another (both separate and apart), this disc contains eight tracks, the authorship of which is split between Vandermark and McBride. The pieces often contain thematic points of reference and ostinato vamps, thriving on their collective consciousness. Worth noting is that the album, while certainly adventurous energetically, has an overall introspective, almost somber quality to it, although there are plenty of explosive moments to keep one on edge.
The record's opening salvo, "Rastro 5 (For Emir Kusturica)", commences with McBride's extended arco grace. Newton eventually joins in on mallets to set the stage for Vandermark's tenor, as the trio eventually reaches the next level once the sticks come out and McBride switches to pizzicato. Vandermark's tenor scorches, particularly when sparring directly with Newton. Vandermark's dedication to Joe Morris, "Two (for Joe Morris)", follows a looser pattern, with the composer's percussive bass clarinet reacting amid the fray. His spirited tenor work emerges again on "F-Stop (for Robert Frank)" and "Hydro", the latter of which will thrill those seeking throat-ripping baritone work.
Perhaps the group's most enjoyable work emerges during the vamp-driven passages. The best example of which is McBride's "Framinghamer" (perhaps a nod to Framingham, MA?) where McBride's lines guide the ensemble. Likewise, McBride's "Barker Waters" flourishes due to the bassist's rubbery lines, encouraging a subdued feeling reminiscent of Michael Moore's Jewels and Binoculars trio as Vandermark's sweet clarinet moves alongside the others. More highlights include the seesaw rhythms between Vandermark's bass clarinet and McBride's arco on "Bird Field (gray)". The group concludes with slowly moving "Tilted (for Robert Pete Williams)", ending the session on a solemn note. |
