Archive for May 25, 2010

Tom Rainey Takes the Lead

Tom Rainey TrioPool School (Clean Feed, 2010)

For the amount of work Tom Rainey has done, the sheer number of big-name players he’s backed up — Tim Berne and Tony Malaby, yes, but also more mainstream work with Fred Hirsch (a 1992 standards LP) or Mark Feldman (on an ECM-recorded, non-Zorn like date) — it’s nice to see him listed as the leader on a CD.

Not that it has to be that way, but when someone’s put together a solid body of work, it’s good to have a CD with their own name as a landmark, something you can point to in appreciation of what they’ve done.  The trio isn’t a vehicle for Rainey compositions, though; it’s an all-improv session with two strong musical personalities: saxophonist Ingrid Laubrock and guitarist Mary Halvorson.

The session stands out for its quirky personality. There’s an edgy, sour-toned aesthetic that Halvorson brings to the group and that Laubrock and Rainey successfully play off of.  It does not have the feel of improvised jazz — that is, the shapes, motifs, and drum patterns you’d associate with free jazz. But the sound is also distinct from many other free improv recordings; it flourishes with strange, dissonant non-jazz chords and a sense of melody gone askew.

Laubrock and Halvorson are willing to follow each other off the rails. That makes for a rougher-edged session than Sleepthief, the trio album with Labrock, Rainey, and pianist Liam Noble. Sleepthief was plenty adventurous — check the piano sweeps and skronky abandon in “Environmental Stud” — but its milieu was mostly crystalline piano against colorful sax lines. Pool School explores a wider scope of sound — and yet, since the tracks are all less that six minutes, there’s a compactness to each little journey.

“Three Bag Mary” is a good place to start. It opens with a blossoming, florid ugliness: simple guitar notes greeted by a rambling catcall of sax and some tough-edged snare thumps. It’s like a calculated ugliness, not just white-noise screeching. But then all three players stop momentarily, and the guitar and sax shift into a kinder, slightly more elegant playing — while Rainey sticks to his guns, returning to a bumpy, irregular sense of rhythm. These kinds of sudden shifts appear on a few of the tracks; the group veers and careens well as a unit.

“Home Opener” is a more varied stroll through multiple styles.  After a few minutes of easygoing playing, the band hits a pause, with Rainey thumping out some slow, irregular beats.  Then Laubrock latches onto a quick sax riff and Halvorson follows in suit by switching on the rock-guitar distortion, for a brief moment of noisy skronk.

“Coney” opens with a jagged tumbling, with Rainey playing softly thudding toms like a body falling down an infinite flight of stairs. It’s a subtly standout moment for him, crafting the mood of the piece without taking over the foreground. Laubrock and Halvorson follow with appropriately scattershot playing, and it all accelerates into a crash, leading to a peaceful, slower segment.

I liked the flow of “More Mesa,” one of the calmer tracks. It’s got a quiet start, with cymbal splashes, buzzy sax, and tense, fluttering guitar chords — active elements, but a setting where the group is in no particular hurry. It’s as if they’ve found a point of focus and want to explore it for a few uninterrupted minutes. The track picks up momentum as it goes but stays in a mellow, thoughtful vein. Not everything has to be a skronkfest.

The trio did a live set at WFMU that can be heard on the Free Music Archive — check it out via this Lovegloom blog entry.

May 25, 2010 at 5:38 am Leave a comment


Calendar

May 2010
M T W T F S S
« Apr   Jun »
 12
3456789
10111213141516
17181920212223
24252627282930
31  

Posts by Month

Posts by Category