Samo Šalamon/Vasil Hadžimanov/Ra-Kalam Bob Moses: Dances of Freedom

  Three boldly imaginative musicians, Samo Šalamon, Vasil Hadžimanov & Ra-Kalam Bob Moses, combine for Dances of Freedom. The set opens with Cream of Emotion, where Šalamon’s banjo, Hadžimanov’s synthesizer and Moses’ percussion create an ominous feeling of space music mired in Mississippi mud. Šalamon’s busy electric guitar and Hadžimanov’s ethereal electronic keyboard washes are buoyed by Moses’ aggressive percussion on Free Dances, where the music doesn’t develop as much as it just keeps pushing forward. On Ocean Calimba, Šalamon is back on banjo. He manages to evoke the sound of a thumb piano, with Moses clattering on what sounds like hand drums and cymbals while Hadžimanov contributes some other-worldly tones to the proceedings. For Dirty Zone, Hadžimanov moves to piano, and the music is mostly an upbeat duet between piano and drums, with occasional interjections by Šalamon on acoustic guitar. The meditative Morphbed is worth savoring again and again thanks to its mysterious blend of organ-like swells, piercing electric guitar, and chattering percussion. Even more shrouded in haze is Pans, where the combination of acoustic guitar, lightly tapped percussion, and unusual synth timbres yields a track of alluring beauty. Hapi Mai ends the album. This intriguing and introspective piece features subdued but insistent percussion over which Hadžimanov on piano and Šalamon on insistent electric guar. trade melodic lines to excellent effect. Endlessly stimulating and full of surprising textures, Dances Of Freedom makes for rewarding listening. Recommended. 

Samo Records; Samo Šalamon (el & ac g, bjo) Vasil Hadžimanov (kybds, p on *) Ra Kalam Bob Moses (d, perc); Moribor, Slovenia (probably), August 2021; Cream of Emotion/ Free Dances/ Ocean Calimba/ Dirty Zone*/ Conga/ Morphbed/ Pans/ Indian Base/ Hapi May*; 44:14. samosalamon.bandcamp.com/music

Alma Tree: Sonic Alchemy Suprema

  Percussion ensembles have been a viable format for improvisers at least since Art Blakey’s series of albums made for Columbia and Blue Note in the late Fifties. Swiss pianist George Gruntz teamed with five percussionists for his 1977 ECM release titled Percussion Profiles. And let’s not forget Pieces Of Time, a 1983 collaboration by Kenny Clarke, Milford Graves, Andrew Cyrille, and Famoudou Don Moye. And of course, there’s the mighty M’Boom ensemble, founded by Max Roach. To that illustrious list, add Sonic Alchemy Suprema, a vibrant new release from the percussion trio Alma Tree, featuring Ra Kalam Bob Moses, Vasco Trilla, and Pedro Melo Alves. The veteran Moses is no stranger to drum-centric projects. He played on Dave Liebman’s 1974 album Drum Ode, and performed duets with drummer Billy Martin on Drumming Birds in 1987. On five tracks, the percussion trio is joined by a saxophone trio with João Pedro Brandão, José Soares and Julius Gabriel. With the credits indicating positions (left, right, and center), Sonic Alchemy Suprema is especially savored on headphones. Most of the pieces were created by the percussionists, while the delicate One With Infinite Spaces and the murky Prayer were composed by Moses. Drums, cymbals struck and scraped, gongs, frame drums, bells and more are the tools for this trio’s cheerful racket. The horns add some spice to the proceedings, usually providing a sustained drone to underpin the drummers. Particularly fine are the three pieces featuring each of the percussionists (Alma Ra Kalam, Alma Pedro, and Alma Vasco), the somber and slow-moving Cosmic Weaving Loom, the longest piece here at just over seven minutes, the aggressive Animal Instinct, and the closing Soaring Leaf, a rambunctious improvisation that finally allows the horn section to cut loose. Snippets of dialog and laughter at various points reinforce the good feelings that abounded in the studio and are palpable in the group’s endeavors. Definitely recommended. 

Carimbo Porta Jazz PJ 099; Ra Kalam Bob Moses (d, perc: right) Vasco Trilla (d, perc: center) Pedro Melo Alves (d, perc: left) On * add João Pedro Brandão (as, fl : center) José Soares (as: right) Julius Gabriel (ts; left); Porto, Portugal, May 30, 2022; Opening/ One With Infinite Space#*/ Alma Ra Kalam/ An Ominous Odyssey/ Prayer#*/ An Eerie Garden Sighting/ High Spirits/ Dusk To Dawn Animalia*/ Cosmic Weaving Loom/ Plate Waltzing/ Alma Pedro/ Animal Instinct/ Dance of the Celestial Madmen*/ Alma Vasco/ Soaring Leaf*; 56:27. pedromeloalves.bandcamp.com/music

Ivo Perelman/Chad Fowler/Reggie Workman/Andrew Cyrille: Embracing the Unknown

  Reggie Workman’s musical saw and Andrew Cyrille’s percussion are the first sounds you hear on Embracing the Unknown, a tremendously exciting new release by the quartet of Ivo Perelman, Chad Fowler, Reggie Workman, & Andrew Cyrille. Tenor saxophone giant Perelman’s basic vision serves to embrace the unknown by leaving all preconceptions behind when starting to play. Chad Fowler, performing boisterously on stitch and saxello, makes a fine partner in the front line with Perelman’s commanding tenor playing. Both bassist Workman and drummer Cyrille, now in their 80's, are oriented to positive listening and immediate responses to what they’re hearing from the other players. Between them, they have participated in over 450 sessions over the decades, and they’ve played together many times since they both worked in the Jazz Composer’s Orchestra back in 1968. Cyrille played in the Reggie Workman Ensemble in the Eighties, Workman played in Cyrille’s quintet in the early Nineties, and the pair also appeared frequently with saxophonist Oliver Lake as Trio 3, so it is obvious that there’s a mountain of mutual respect. It’s worth noting that Cyrille’s first appearance on record was in 1961 with the master saxophonist Coleman Hawkins (The Hawk Relaxes, for Prestige). For him to play on this date emphasizes both the underlying continuity of the jazz tradition and the always forward-looking attitude of this broadly experienced musician. As the energy level rises and falls and rises again over the 21 minutes of the opening title track, it becomes clear that this is a deeply attuned unit, balanced and mutually attentive to the smallest musical gesture. Soul Searching, which starts out as a marvelous duet between an almost bluesy Perelman and Cyrille’s scintillating brush work, grows into a dramatic quartet blow-out around the half-way point. The saxophones shriek and moan together, Workman holds down the bottom with his dexterous walk, and Cyrille is all over his drum kit. Self-reflection begins with a surprisingly sweet sax duet, and evolves into a sort of free ballad. The joyous Introspection is a vigorous musical conversation that bounces happily along. Self-analysis has a curiously spiritual aspect, with moaning horns, prominent bass, and Cyrille using lots of space in his playing. I’m especially fond of the closing Self-contemplation, featuring a highly animated opening saxophone duet. In the middle of the tune comes a chipper Cyrille solo, played on what sounds like the rims of his drums and a cowbell, soon joined by Workman’s bowed bass. The piece develops into an appealing four-way conversation, and just like that, 68 minutes of intense music is over. To embrace the unknown is to be absolutely prepared to accept the world as it comes. Good advice for living, and superb advice for improvisers. Totally recommended. 

Mahakala Music MAHA-076; Ivo Perelman (ts) Chad Fowler (stritch, saxello) Reggie Workman (b, saw, perc) Andrew Cyrille (perc); Brooklyn, NY, no date specified; Embracing the Unknown/ Soul Searching/ Self-reflection/ Introspection/ Self-analysis/ Self-fulfilment/ Self-contemplation; 68:02. mahakalamusic.bandcamp.com