released May 1, 2006
François Carrier : alto and soprano saxophones
Mat Maneri : viola
Uwe Neumann : sitar, sanza, ektara and Indian talking drum
Pierre Côté : double-bass
Michel Lambert : drums
Recorded Live at GESÙ in Montreal on April 8, 2005.
© 2006 ColyaKooMusic / SOCAN
℗ 2006 FMR Records
Out of stock
Québécois saxophonist Carrier is a new name to me, but he's assembled a very quirky, provocative group of instrumentalists. Supplementing his long-standing trio are the ever resourceful Maneri and multi-instrumentalist Neumann. Carrier is a patient. lyrical player, not dissimilar in some sense from Steve Lacy in terms of his approach to line and melody. This makes for an interesting element in music that almost pools at the edges of your listening, its ephemeral forms slowly condensing into liquid ensemble passages that aren't easily contained. Maneri's singular voice, of course, contributes greatly to this effect and he's as dazzling as ever. Because the sound is a bit boomy, however, some of Lambert's details get a bit lost (though he and Côté have a fine duo passage early in the concert).
These pieces take their time unfolding and obviously touch down on a great many different ideas. The strongest pieces are those which comprise the first disc, with patient rhythmic explorations establishing a foundation for Carrier's somewhat gruff, grainy alto. On the long opening "happening (one)" he pushes forward, with Maneri's aid, into a gentle trot that catalyzes some excellent work from all considered. Neumann waits almost 25 minutes before his entrance. Sitar is a difficult instrument to incorporate into these kinds of settings because it's so idiomatic and more or less forces the ensemble into a particular mode of playing - the trick, then, is responding creatively, which in general these players do. After the muscular swing of "happening (two)" and the intense snake-charming effect of "happening (three)," the two long pieces that comprise the second disc seem considerably lighter, at times even glowing with an idyllic pastoral feel. Neumann's sanza meditations certainly contribute to this effect, and the music eventually works itself into a fine froth that sounds situated at the intersection of a mid-1970s Carlos Ward jam, the Die Like a Dog trio, and Codona. The Carrier/Maneri interaction is very nice, but while Maneri dazzles when he steps to the forefront and Neumann's effective are occasionally entrancing, the trio's basic empathy is ultimately what accounts for the success of this music.
Cadence / August 2006 / Jason Bivins
|Dimensions||20 × 20 × 2 cm|