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 | World Saxophone QuartetSteppenwolfLabel: Justin Time | Jazz | May 21, 2002Format UPC Order # Unit Price |
Credits Hamiet Bluiett baritone saxophone Oliver Lake alto saxophone David Murray bass clarinet and tenor saxophone John Purcell clarinet and soprano saxophone Production Credits | TracksNo Title Duration Excerpts 03 Intro 00:02:08 04 Li'l Poki 00:15:23 05 Intro 00:00:28 06 Sunrise 00:09:14 07 Giant Steps 00:03:15 08 Intro 00:00:14 09 Color For Duke 00:08:35 10 Intro 00:00:36 11 Toré 00:06:09 13 Hattie Wall (Theme Song) 00:03:34 Liner NotesWhen a concert performance doubles as a live recording session, the music-making is bound to be affected. At best, the musicians rise to the occasion; at worst, they choke.Monday nights historic set by the World Saxophone Quartet at Steppenwolf Theatre belonged to the positive side of the equation, for this band produced one of its most dynamic performances since the death of WSQ reedist/composer Julius Hemphill (in 1995). In fact, the recording that results from this show, to be released on the Justin Time label, could mark a turning point in the evolution of a great ensemble. Any quartet that has been operating for roughly two decades is bound to be rattled by the departure of one of its members. The Modern Jazz Quartet, for instance, never recovered from losing drummer Connie Kay, whose unique tin-tinnabulation proved irreplaceable after his death in 1994. The WSQ, however, has chosen well in adding reedist John Purcell to the mix. Beyond the obvious intellectual rigor of his compositions, Purcell brought a distinctly melancholic, often introspective voice to the ensemble. In so doing, he couldnt help but alter the tone and tenor of the quartet, even taking into account the longstanding contributions of reedists David Murray, Oliver Lake and Hamiet Bluiett. It would be going a bit far to say that Purcell added timbral subtlety, melodic fervor and cerebral acuity to an ensemble that already had achieved a degree of each, but Purcell certainly underscored these facets. The prime example was the evenings centerpiece, Lil Poky, an extended work in which the composer depicted the clashes of ideology between Native Americans and invading Europeans in the era of Pocahontas (the title character). Even apart from these programmatic themes, however, Lil Poky overflowed with complex musical ideas, alluringly stated. In ensemble passages, the piece offered intricate part-writing, tightly drawn harmonies and more motivic information than the ear possibly could absorb in a single hearing. But the very density of this music, as well as the players ability to make every line ring out clearly against the others, made this a tour de force for reeds. The solos, too, proved brainy but charismatic, particularly Purcells plaintive phrases and microtonal pitches on soprano sax, Lakes blues-drenched runs on alto and Bluietts buzz-tone lines on baritone sax (with Bluiett somehow yielding high pitches and low ones at once). But this was just one striking performance in an evening filled with them. Bluietts high-speed, bathed-in-dissonance arrangement of John Coltranes Giant Steps, Murrays unabashedly melodic version of Taj Mahals Sunrise and Purcells refined tone-painting evoking Swedens northern lights pointed to musicians who still have a great deal to say. With Purcell now part of the band and the other players apparently recommitted to it, the WSQ might be able to keep blowing for another couple decades. Heres hoping. Howard Reich Arts Critic Chicago Tribune March 3, 1999 |
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