More along the lines of emphasizing interpretation over structure, these three releases focus on interplay and freedom.The band Anemone consists of Peter Evans/tp, John Butcher/ts-ss, Frederic Blondy/p, Clayton Thomas/b and Paul Lovens/dr. Together they produce a two part composition “A Wing Dissolved In Light” that includes Evans’ pocket trumpet squeaking and fluffing on the mouthpiece while the bass and subtoned tenor buzz in the undertow. Blondy’s piano uses space over the horns that sound like a space landing craft on “Side A”. For the second part, there is eerie piano and bass musings, bowed bass and fluffing reeds that sound like buzzing bees and lots of valve effects and sax squawks. Lots of interplay, but there could be more direction, or better placement of a mouse trap to catch the scurrying critters.
Pianist Klaus Treuheit teams with drummer Lou Grassi for three songs, each with four variations. “Mysterioso” has Grassi using the ride cymbal on the flowing “I’, hand drums on the rustling “II” and the team canters on “III.” Treuheit’s piano is spacious on “L’Espace Sonore I” and restless on “II” with some inquisitive bluesiness with Grassi’s brushwork on “III.” The final “Lament” includes some snappy bop on “III” and melancholia on “IV.” The themes show that they can be interpreted and stretched in fascinating ways. Quite creative!
The PRISM Quartet consists of saxists Timothy McAllister/ss, Zachary Shemon/as, Matthew Levy/ts and Taimure Sullivan, and they team up on this album with various guests including the percussive teams So Percussion and Partch, electric guitarist Derek Johnson and conductor Stratis Minakakis. The eight part “Blue Notes and Other Clashes has the So Percussion team joining in with the four saxes for some steel drums, kalimba and other things that go bump in the night while the reeds brood, create rich vibrato sand hover. The thirty two minutes include much variation of percussion discussions, while the twenty two minute “Future Lilacs” has the Partch ensemble team up with electric guitarist Derke Johnson for some rocking distortion teamed with space and tubular bells, sounding like a lonely harbor buoy at night clanging away. The final “Skiagrafies” has the reeds hover over a stagnant pulse of a rhythm like a morning fog.
All three releases seem to be better seen to be believed.