Free Jazz Music

"Bow River Falls" is Dave Douglas' first album back on an indie label since being dropped unceremoniously by RCA. Even being a consistent winner of numerous jazz magazine polls apparently can't dissuade corporations from giving you the axe after a corporate merger. All the better though, as now Douglas is free to record with and for whomever he likes. This first cooperative effort is a good indication of the sort of subtle ego-less work he would have most likely had trouble releasing on a major label.

More a collaborative album than a solo affair, this ensemble works more as an improvising collective than it does as a singular artists' vision. All four members contribute compositions for this recording, yet still a sense of stylistic cohesion permeates the proceedings. There is a chamber jazz-ish feel to the majority of the album as Douglas' trumpet and Louis Sclavis' clarinet are accompanied solely by Peggy Lee's cello and Dylan Van Der Schyff's trap set, with only a few instances of subtle laptop sampling added for texture. Delicate introspective melodies dominate the session, although the occasional brash outburst coupled with soaring unison lines help unfetter some edgy improvisational interplay. A sense of spontaneity is always present, as the tunes feel more like loose sketches than overworked compositions.

Although most of these pieces have been previously recorded, here they are given a fresh spin by the economically sized quartet. An empathic and masterful group of musicians, this is easily one of the better offerings in the genre this year, and definitely one of the finest albums in Douglas' ever growing catalog.

This is Douglas's first release since getting dropped by RCA Victor, & unsurprisingly it's rather different in feel--it harks back to his quirky small-group jazz with groups like his "strings" quintet or the Tiny Bell Trio. It was recorded in Banff last year, & you can sense the pleasure & relaxation of the four musicians. The tunes (by Douglas, Sclavis & Lee) are mostly older ones rather than new--Douglas's "Woman at Point Zero", for instance, comes froms _Witness_, & "Petals" & "Paradox" were originally performed in the 1990s by the collective band New & Used. The exception is the short opening cover of Steve Lacy's "Blinks"--recorded before Lacy's death but nonetheless a timely & spirited memorial.

Most of the tracks here are short & self-contained, & tend to end rather quietly rather than tie things up with a flourish. It's all quite appealing, even if it rarely sounds too urgent or exploratory. Probably the best piece besides the Lacy is "Woman at Point Zero", which is as strong & affecting as on _Witness_. The rest is pleasant but somehow never strikes a lot of sparks--I've listened to this album four times now & frankly still can't remember much about it. Everything seems a little smoothed-over & unrevealing. Fans of the principals will want to check it out, but it seems to me an inessential, though quite listenable, album.

Should Amazon want to sell this record to a wider audience it should start by spelling the musicians' names properly. Spelling Louis Sclavis, Louis Sclacis does not look good on your web page.

For many people, the name Jimmy Lyons conjures visions that are inextricably linked to the music of Cecil Taylor. Because he is documented on many Cecil Taylor albums, why do we need five CDs of his own work? Well, we need this set because Jimmy Lyons was a remarkable creative voice in his own right, and this set is a testament to the man's creativity, passion, and uncompromising vision. Jimmy Lyons was one of the greatest alto players in the history of progressive jazz, as anyone who listens to this set will easily realize.

The music on this set was all previously unreleased. The sound quality varies, but overall it is quite good. The first CD, from '72, features a group whose music is bolstered by the playing of Raphe Malik. The interplay between Lyons and Malik is unbelievable. The version of "Jump Up" that opens the disc absolutely smokes. Disc 2 is from '75 and features Jimmy in a trio setting. Disc 3 continues the '75 set and also features a very rare solo sax performance from `81. It is a real treat to hear Lyons playing a solo performance. For the most part, he does a pretty good job at developing his creativity into coherent ideas, but occasionally he breaks into the "Woody Woodpecker" theme when the muse runs a little dry. (That's okay, that is what cartoon themes are for, right?) It doesn't really matter--this is Jimmy freaking Lyons playing solo! How cool is that?!?! Discs 4 and 5 are noteworthy for the addition of Karen Borca in the group. She is an unbelievable talent and really plays brilliantly with Lyons. Paul Murphy also does a fine job on the drums.

I am deeply thankful that Ayler Records has released this much-needed tribute to one of the titanic creators of avant-jazz. I hope there will be an additional set of unreleased material made available in the near future. Despite the occasional sonic limitations of the source material (which are few, actually), this remains one of the most treasured sets in my collection. The small paper booklet is loaded with details about the recordings and informative, thoughtful essays. The CDs are packaged in plain white sleeves. Altogether it is a modest package, but it is indeed worth the price and then some. Because this is a very limited edition set (500 copies worldwide) that has been out for a couple of years, pick this up now. You will not regret it.

This album in its entirety is contained in the Don Pullen Mosaic Select 13 Mosaic Select: Don Pullen. Buy it instead for $45 and get "Song Everlasting" and "Random Thoughts" as a bonus!

This album in its entirety is contained in the Don Pullen Mosaic Select 13 Mosaic Select: Don Pullen. Buy it instead for $45 and get "Song Everlasting" and "Random Thoughts" as a bonus!