Weasel Walter and Peter Evans, along with the still ascending guitar hero Mary Halvorson, recorded a live session for WFMU that will be played Wednesday, May 13, at 8:00 p.m. Pacific time. The “Love, Gloom, Cash, Love” blog mentions it here.
The past year or so has been prolific for all three musicians, and it’s been fruitful in terms of Walter’s collaboration with the other two. In other words, these folks have been already doing some darned good work together. Walter’s Web site promises a CD-R and DVD with the three of them.
The first side-long improvisation on Oculus, titled “The Eyes of Hell,” starts with a snap, diving straight into a spiky, ear-poking mood. Each player contributes dots of sound, or short lines, to create a busy canvas. Within a minute or two, they’re really going at it, a fierce tumult. Evans’ crisp, aggressive trumpet style — showcased with the band Mostly Other People Do the Killing — is a great counterpart to Walter’s punk-infused free-jazz drumming, and they provide plenty of rapid-fire clatter together.
Damon Smith can more than keep up with them on bass, and he’s strong enough in the mix to not get drowned out. Paul Hartsaw on sax rounds out the quartet, putting up fluid squiggles to add to the fray. Maybe it’s a matter of sheer volume, but I find myself keeping Evans at a mental front-and-center position.
Of course, these guys are too professional to just blow aimlessly. The fast quartet flows are fun to get swept away in, but then the group will stop for a new statement — a brightly jagged Smith/Evans duet, or the quiet closing moments with fast bass bowing by Smith and circular-breathing spirals from Hartsaw.
“Ex Malum Adveho Sonitus,” the other side-long piece, opens with the same ferocity, but its mad cacophony has a more lingering tone to it, particularly when Evans hands out long, grumbling tones on the trumpet as opposed to the slash-and-burn strategy on side A. At a couple of points he seems to carry out some circular breathing on the trumpet — or maybe it’s Hartsaw’s sax that I’m mistaking for trumpet — or maybe Evans just has incredible lung capacity.
There’s also a good quiet break that lets the swarm clear but doesn’t lose the tempo or flow. From there, the band builds back into a frenzy for a nice conclusion.
Did I mention that Oculus is on vinyl? It’s on vinyl, shiny green vinyl with an orange center label. Oooh, shiny. And it was recorded at the very cool New, Improved Recording in Oakland.
Opulence (on CD) was recorded in 2007, presaging Halvorson’s arrival as someone the New York Times would write up. (She and Jessica Pavone are also on the cover of the current Signal to Noise magazine.)
Halvorson’s edgier guitar playing, with distortion cranked up on her jazz guitar, is no surprise, given some of the indie-rock leanings on her Dragon’s Head CD. It’s a good match for Walter. “A Diamond Encrusted Frisbee” and “Rare Vodka from the Fourteenth Century” also get appropriately ragged, and Halvorson goes for the all-out rock sound on “Lapis Lazuli Nights,” a blazing rock instrumental with Walter adding appropriate drama on cymbals and bass drum.
But she and Walter try the opposite trick, too, showing that Walter’s hyperkinetic noisemaking can work in a free-jazz setting. “(Rich)” Corinthian Leather starts with Walter playing in rapid-fire mode, but softly. Halvorson joins in with her more standard jazz guitar sound, with fast, deft sketches and, later, sparkly high twangs like sideways falling stars.
Yes, I mentioned Opulence before — here.