Tag: Joe Daley

NoBusiness Records, the Lithuanian label that specializes in reissues of adventurous jazz from the generation of the 1960s and 1970s as well as new improvised music in the jazz tradition, approaches the year’s end with a clutch of releases highlighting unusual instrumental ensembles.

First is Zenith, the second installment in the label’s essential Sam Rivers archival release series. Zenith is a live recording made at the Jazztage Berliner 1977 with an unconventional quintet of Rivers on tenor and soprano saxophones, flute and piano; Dave Holland on double bass and cello; Joe Daley on tuba and euphonium; and both Barry Altschul and Charlie Persip on drums. The quintet was a subset of the larger orchestra Rivers brought to Europe; this may have been their only performance together as a quintet. And an intense performance it is: a single, 53-minute improvisation that establishes and maintains a high energy level throughout. The two drummers mesh well and don’t overwhelm the rest of the group; Holland and Daley, who developed a finely-tuned working relationship in the Rivers quartet during this period, complement each other well and avoid any redundancy of line or color in the lower registers. Rivers’ playing is explosive and inspired, which is no surprise in light of the rich textures his bandmates weave.

Reptiles is a recording of the Israeli trio Bones, comprising bass clarinet (Ziv Taubenfeld), double bass (Shay Hazan), and drums (Nir Sabag). While the pianoless saxophone trio is a well-established configuration within jazz, the pianoless bass clarinet trio is less so. Bass clarinet and double bass are known for being among the quieter instruments in any ensemble but on this raw, forceful recording they show a more aggressive side. Taubenfeld’s sound tends toward the acerbic while Hazan favors a blunt-edged pizzicato on most of the tracks; Sabag’s free polyrhythms provide the trio with a propulsive push. Odd-numbered tracks are collective pieces, while the even-numbered tracks are solo performances for double bass, bass clarinet, and drums, respectively.

Recorded in an intimate live setting in Yamaguchi, Japan in 1997, The Aiki represents a rare meeting of pianist Masahiko Satoh and drummer Sabu Toyozumi. The two long duets that make up the release are the product of a chemistry that is as deep as it is rarely given occasion to combust, as Satoh’s tightly coiled, knotty lines find a fine foil in Toyozumi’s muscular excursions ranging over the entire drum kit. If the pairing of piano and trap drums implies a relatively restricted palette of timbres, Satoh and Toyozumi compensate by building their improvisations through a sophisticated use of space and dynamics.

Another recording from the 1990s, Blue Cat is a 1991 session for the quartet of cornetist Bobby Bradford, alto saxophonist Frode Gjerstad, double bassist Kent Carter, and drummer John Stevens. The four play a finely crafted free swing especially notable for the mutually supportive, motivic interplay of the two horns and solid playing from the rhythm section.

Finally, Brain in a Dish from the trio of Steve Swell on trombone, Robert Boston on piano and organ and drummer Michael Vatcher is a freely improvised collection of eleven pieces that takes Swell’s extended vocabulary of growls, squeals, air notes and buzzes and situates them within a sympathetic and stimulating setting. Particularly intriguing are the pieces for the timbrally distinctive combination of trombone and organ.

Daniel Barbiero