Eskelin/Parkins/Black - "One Great Night...Live"

Ellery Eskelin's trio with Andrea Parkins and Jim Black has a unique and singular sound. Their sound is unlike that of any other working group in improvised music. Non traditional instrumental combinations are not uncommon in this genre, especially in more avant circles. Even the accordion - Parkins' main instrument in this trio - isn't unusual for mainstream or more freestyle jazz. From Richad Galliano, to Will Holshouser, to Evelyn Patrova, this much maligned instrument is getting its due. What happens with Parkins' electrified squeezebox is unlike anything else, though.

I'm always up for anything out of the ordinary, and I was immediately attracted to this trio when it started up in the mid '90s. Tenor sax, accordion + electronics, and drums will do the trick for me anytime. At times, Eskelin's trio can sound like an update on the tenor, organ, drums combination, with Parkins' electronic keyboards or accordion approximating the sound of the Hamond B3. That's where the comparisons end, however. Through years of working together, these three have developed a musical signature that, while it borrows from prog-rock, free-improvosation, eai, European classical music, and Bebop, cannot be classified.

This new recoding is from a concert held at Towson State University in Baltimore, Maryland on December 9, 2007. Eskelin is from Mobtown and received a degree in music at Towson, so this gig - coming at the tail end of a European tour - may have been a homecoming of sorts. I had the good fortune to be at the performance, and this recording is a great example of what this band is about.

It contains one new tune, "The Decider", the rest are from the previous recordings "Arcanum Moderne" and "Quiet Music." The tracks "Split the Difference" and "Instant Counterpoint", both from "Quiet Music", serve as excellent examples of this group's approach. "Split the Difference" starts out almost sounding like a traditional Jazz tune, with Eskelin and Parkins playing the theme and Black's swinging drums propelling things along. Eskelin plays one of his more inside solos, the theme returns and they quickly go off - Ellery solo, then a drum break, followed by and interesting dialog between Black, with Parkins adding a few comments here and there, all leading to a Black solo ending the tune. All through this, they never loose the thread of the original theme. Black may be one of the most gifted drummers around today, and he magically pulls all this together. "Instant Counterpoint" is based around a contrapuntal theme that's returned to over and over again. Between statements of the theme the musicians explore the various textures and colors that define this group's sound. Deep, almost subsonic, bass tones emerge from Parkins' accordion that, with a good subwoofer, will shake the floor a bit. Ellery's tenor playing on this is revelatory - out in the edge, but like other great players, he keeps it focused and on target, and with his cohorts, explores the dynamics to be discovered in the piece.

I'd recommend any of this group's recordings, but this one may be the best so far. Ellery will be happy to sell you a copy, so check out his Website. He also has titles from his back catalog available as well. Dive in and check this band out.

John Abercrombie Quartet at Birdland

I made it to the 11 PM show on Friday October 2, 2009 to hear John Abercrombie's long lived quartet. Working groups like this one are relatively rare in Jazz, mostly, I suppose, due to the economics of this art form. The quartet of Abercrombie on guitar, Mark Feldman on violin, Thomas Morgan on bass - bassist Mark Johnson having moved on - and Joey Baron on drums, was in the middle of an engagement at Birdland, and promoting the release of their new CD, "Wait Till You See Her". I've only heard "Class Trip," the second of their four CDs, all on ECM, and had been really impressed by this group. Abercrombie has a long discography - I've been listening to him since his first album, "Timeless", came out in the mid-Seventies - and it was clear that with this group he was still putting himself in challenging musical situations. Feldman is a fine improvising violinists and Baron, a killer drummer, and both musicians have a good deal of downtown creditability, having played in various John Zorn-associated groups - for whatever that's worth. Mark Johnson, who played on the first three recordings, made his name playing with Bill Evans, and is a fine, melodic and tasteful player. Thomas Morgan is new to me, but he obviously fits in well with these veterans.

They played "Banshee" from an earlier CD, a couple of pieces from the new one, the title cut from "Class Trip", and ended with a great take on Ornette Coleman's "Round Trip." I liked this a lot. They eased into a statement of the tune's head and then Baron went in to a solo that lead into the group playing a bluesy groove that had some hints of "Dance of the Maya" by The Mahavishnu Orchestra. Ornette's theme came back in a few more times, with Feldman perfectly capturing the playful melody. Other quotes - "How High the Moon?", "Break Tune" - crept in here and there before they brought it all to an end.

Abercrombie isn't a flashy player. He has at times a light, airy tone with the signature hint of echo that the ECM label is famous for. At other times he has an quiet intensity to his playing. Like all great players, his sound is unique and immediately recognizable, and this comes across very well in a live setting. I think that this group may be the best of his career. Baron is a solid jazz player and his drumming really lights a fire under this group. Feldman, with his mostly vibrato-less tone, and flawless technique is a joy to listen to. I can't think of too many jazz violinists that can play at this level.

A great show. Check these guys out if you have a chance.