Rent Romus’ Life’s Blood Ensemble — Rogue Star (Edgetone, 2018)
Rent Romus’ Lords of Outland — In the Darkness We Speak a Sound Brightness and Life (Edgetone, 2018)
Saxophonist Rent Romus has been more prolific than ever in the last couple of years, or at least it seems that way to me. He has a spate of new material out on his Edgetone Records label, including these two CDs from a couple of longstanding bands.
Rogue Star, by Romus’ Life’s Blood Ensemble, presents his more formalized side — compositions rooted in concert-hall jazz styles, with dynamic multi-horn themes, the cool touch of Mark Clifford on vibraphone, and, of course, plenty of space for group improvisation.
The Life’s Blood Ensemble started in 1999 as a trio including drummer Timothy Orr, and the group was introduced to the world on Blood Motions (Edgetone, 2001), built around compositions from Romus’ time in Copenhagen. The band has since grown in size and ambition, becoming a three-horn septet playing backed by the dual basses of Max Johnson and Safa Shokrai, who get an unaccompanied duet to start “Cassini” and in the middle of “Think!” Tracks like “Emotism” are intelligently plotted, with polished unison lines and crisply energetic solos.
“Think!” operates in bursts of ’60s-feeling energy, interspersed with composed lines shaping cohesive group improvisation. “Space Is Expanding” features big-band-style solos and drumming, possibly a nod to Sun Ra. And I love the way the title track blossoms into a loose multi-horn improvisation with a relaxed, sunny feel.
I think of Lords of Outland as Romus’ more gutteral outlet, rooted in jazz but with a contrary streak. This is one of Romus’ earliest bands, created more than 20 years ago and reviewed on this blog multiple times.
In recent years, with the steady rhythm section of Ray Schaeffer (six-string electric bass) and Philip Everett (drums), the Lords have moved into the territory of prog and cosmic rock and, increasingly, electronics played by multiple band members.
The electronics get an even bigger role on In the Darkness, mainly from the hands of Collette McCaslin. She plays trumpet and sax as well, but many of her contributions are in the form of analog blasts and bleeps, an extra touch of aggression and flamboyance. I presume it’s her delivering the solo electronics showcase on the track “Interstellar Deletion.”
The “darkness” of the title often feels like a joyous darkness, as on the nine-minute “Open Your Hand and Walk Away,” with Romus’ tenor sax calmly testifying among the din. That track also includes a good spacey showcase for Schaeffer’s bass and effects.
Many of the tracks are outright bright, really. “From a Trunk Buried in My Closet” develops into a chaotic, celebratory flow underlaid by squelchy bass and subtle garnishes of electronics. “A Pile of Dust We Emerge” has McCaslin adding soprano sax tones for additional color.
“See the Path Before You” adds a touch of mysticism — a spirited sax-and-electronics duo, followed by ceremonial somberness between trumpet (also McCaslin) and sax. “As Water We Emerge Toward Us” is a more disjoint kind of free-jazz, fast-paced but with plenty of white space for a more contemplative mood.
These albums have a lot in common, starting with Romus’ fleet sax work, but they represent different angles on the process of making music. They just happen to have come out at around the same time, and they do make for a nice set.