Chicago clarinetist James Falzone leads a sextet of reeds with Ken Vandermark, Ben Goldberg, Keefe Jackson, Ned Rothenberg, & Jason Stein in a set of 14 intelligent compositions joining minimalism, classical inferences and jazz with asymmetrical parts using both structure and freedom.
Label: Allos Documents
Catalog ID: 010
Squidco Product Code: 20826
Recorded at Electrical Audio in Chicago, Illinois, on April 12th, 2013 by Greg Norman.
James Falzone-Bb and Eb clarinets
Ken Vandermark-Bb clarinet, bass clarinet, baritone saxophone
Keefe Jackson-tenor saxophone, bass clarinet, contra Bb bass clarinet
Jason Stein-bass clarinet
Ben Goldberg-Bb clarinet, contra Eb alto clarinet
Ned Rothenberg-Bb clarinet, alto saxophone
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1. Prelude 1:17
2. Not Seeing 6:37
3. The First Renga (Ben) 4:15
4. The Second Renga (Ken) 2:32
5. The Room Is 8:57
6. Interlude 1:15
7. White 11:24
8. The Third Renga (Keefe) 2:36
9. The Fourth Renga (Ned) 2:48
10. Until 13:32
11. The Fifth Renga (James) 3:55
12. The Sixth Renga (Jason) 3:04
13. That Red Apple 7:37
14. Postlude 1:22
Related Categories of Interest:
Chicago Jazz & Improvisation
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New in Improvised Music
sample the album:
"Enterprising Chicago-based clarinetist James Falzone and a core band of fellow improvisers signal a modern day avant-jazz summit, inspired by the leader's affinity for Renga, which is a Japanese poetic tradition where 2 or more poets work in parallel to produce a new work. Falzone yields dividends by enlisting an ensemble, featuring prominent trailblazers of the modern era's improvising circuit such as Ken Vandermark, Ben Goldberg, Ned Rothenberg and others of note. The performers' inner-workings are implanted within a holistic viewpoint, spanning stark minimalism, classical inferences and jazz with asymmetrical parts, structure and freedom. At times the musicians veer off into subgroups and explore numerous concepts via muscular unison choruses, playful breakouts, curvy dialogues and solemn inquisitions. "Until" is the album's lengthiest work, clocking in at 13-minutes. Here, the sextet stops, starts and generates an airy environ with rests in between choruses amid many contrasts, given the artists' varied selection of clarinets and saxophones. They delve into a surfeit of exploratory processes, shaped with contemplative and microtonal etudes and a primary theme engineered with a vertical trajectory. They mix it up with verbose exchanges while also converging and splitting themes into micro-fragments. Towards closeout , Jason Stein, Keefe Jackson and Vandermark engage in a whirling bass clarinet cadenza as the band eventually goes all over the map with fiery exchanges. Thus, each piece poses its own set of circumstances and not solely centered on wild escapades or laborious journeys without an endpoint or zenith. There are quite a few moving parts as an irrefutable sense of excitement underscores the overall proceedings."-Glenn Astarita, Allaboutjazz.com
The Renga Ensemble was convened by clarinetist and composer James for a series of concerts and a recording in April, 2013 in Chicago. The ensemble was handpicked by Falzone, drawing together some of the most diverse and adventurous clarinet and saxophone players working in jazz and improvised music today.
The project is rooted in persona: how do diverse musical voices converge and find common ground, especially in a setting where composed and improvised elements coalesce? The intention in assembling such diverse players, most of whom had never played together before, was to allow space for each voice to be heard yet challenged and shaped by another, equally strong voice. The concerts in Chicago took place at The Chicago Cultural Center, The Hideout, and the Elastic Arts Foundation and received preview articles in The Chicago Tribune, Chicago Reader, and Chicago Music.
James named the group Renga after a centuries-old form of collaborative Japanese poetry, where two or three poets blend their words into a single meditative work. James' compositions, written especially for this project, were conceived around a haiku by American poet Anita Virgil. The titles of many of the compositions make up her brazenly clear yet emotionally compelling poem:
LINER NOTES BY CLIFFORD ALLENI.
The woodwind family is borne of the earth. Though saxophones and clarinets are machines designed to move air and project sound, they channel something much greater than mere breath. Connected to fingers, facial muscles, tongue, neck, arms, torsos, lungs and legs, reeds make a circuitous but definite path to the ground. In multiple, they create an undeniable sense of textural force and can signify as much propulsion as a rhythm section might. One thinks of the great woodwind sections of Ellington, Basie and Kenton, not to mention Sun Ra's Arkestra or Muhal Richard Abrams' Experimental Band. Prince Lasha, a flutist, saxophonist and clarinetist, was speaking above to the sound of Texas saxophonists like Booker Ervin, Ornette Coleman and Dewey Redman.
One might extrapolate that Texas sound out of Fort Worth's sawdust-floored black clubs onto Jimmy Giuffre, a multi-reedman and composer from Dallas who, while on the West Coast and working with Woody Herman's band, wrote one of the central pieces of saxophone ensemble literature, "Four Brothers." Knotty and nearly beholden to circular breathing, its tone rows give the reigns to three tenors and baritone and focus the ensemble directly on the front line and the rhythm and interplay of the reeds. Giuffre's work - which later encompassed free improvisation and a unique, "chamber"-like approach to ensemble orchestration - is one of many influences apparent in the music of Chicago clarinetist and composer James Falzone.
Falzone's latest group is a major point of departure: Renga is a woodwind sextet and joins the Bb and Eb clarinetist with Vandermark (Bb and bass clarinet, baritone saxophone), Keefe Jackson (bass and contrabass clarinet, tenor saxophone), Jason Stein (bass clarinet), Ned Rothenberg (Bb clarinet and alto saxophone), and Ben Goldberg (Bb clarinet and contralto clarinet). Falzone notes "each of these musicians possess a very personal voice, a color, that is expressed through their horn. More than anything, I was interested in seeing how I could work with these voices, blending and contrasting but always creating space for each hue to remain itself." All of the fourteen pieces here are from Falzone's pen and draw from ancient collaborative haiku, or Renga. There are six "Rengas", each spotlighting a different player in the sextet and thus brightening the collaborative bond between individual performance and the work as a whole. In formal terms, each line or statement is expanded upon by a subsequent one, creatively overlapping. To extend the disc's connection to ancient verse, five of the disc's pieces take their title from a haiku by contemporary American poet Anita Virgil:
An all-reed ensemble requires a total sonic commitment that's quite set apart from other instrumental forms. As Jackson puts it, "this context is different from the usual in the sense that since the band is full of other reed players, while improvising you must start from a higher level - the basic 'saxophone' or 'clarinet' things have already been stated and stated and stated on every song, so you have to find another way to make the music count, every note, and also to take it somewhere. It makes you work harder." Falzone and Jackson have worked together since the clarinetist's return to Chicago, including compositional workshops and Jackson's Project Project orchestra (Just Like This, Delmark 580, 2008). But just as Renga's specific instrumental relationships make the music a challenge unlike any other, it's important to look at this workwithin the arc of James Falzone the composer. The rhythm writing, choppy and globular yet able to maintain a thin and bubbly quality, are distinctly Falzone-ian and one could imagine Keefe Jackson's tenor or Ken Vandermark's baritone occupying a role similar to vibraphonist Jason Adasiewicz or bassist Jason Roebke in KLANG.
Turning to the penultimate piece, "That Red Apple," it may be worth a relook at Jimmy Giuffre and how swing is distilled into pure sound and graceful movement. The clarinets display knotty swagger, Goldberg burrowing in for the first solo with an approach that's lush and grounded; gradually players peel off in pointillist duets and incisive motion. A fragment of trilling modernist fanfare emerges, orchestral elision with a set of growls and buttery pecks. In this music, Falzone embraces both textural interplay and arrangements that hold fast and remain roomy. Dusty footfalls sashay and wink in the direction of the past, though these six players remain steadfastly present. Taut riffage bolsters Rothenberg's heel-digging alto and Stein's mouthy bass clarinet on "Not Seeing," yet the ensemble's shimmy unfolds in a reflective, elongated manner.
There is a wealth of tonal information and gutsy feeling in each of these pieces, yet the music of Renga is never all-at-once. As with many advanced or simply excellent records, its secrets are both revealed gradually and plainly in view. The Room Is hinges on:
sound coming up the ground and . . . the bottom of the horn
Clifford Allen, Brooklyn, December 2014
• Show Bio for Ken Vandermark
"Born in Warwick, Rhode Island on September 22nd, 1964, Ken Vandermark began studying the tenor saxophone at the age of 16. Since graduating with a degree in Film and Communications from McGill University during the spring of 1986, his primary creative emphasis has been the exploration of contemporary music that deals directly with advanced methods of improvisation. In 1989, he moved to Chicago from Boston, and has worked continuously from the early 1990's onward, both as a performer and organizer in North America and Europe, recording in a large array of contexts, with many internationally renowned musicians (such as Fred Anderson, Ab Baars, Peter Brötzmann, Tim Daisy, Hamid Drake, Terrie Ex, Mats Gustafsson, Devin Hoff, Christof Kurzmann, Fred Lonberg-Holm, Joe McPhee, Paal Nilssen-Love, Paul Lytton, Andy Moor, Joe Morris, and Nate Wooley). His current activity includes work with Made To Break, The Resonance Ensemble, Side A, Lean Left, Fire Room, the DKV Trio, and duos with Paal Nilssen-Love and Tim Daisy; in addition, he is the music director of the experimental Pop band, The Margots. More than half of each year is spent touring in Europe, North America, and Japan, and his concerts and numerous recordings have been critically acclaimed both at home and abroad. In addition to the tenor sax, he also plays the bass and Bb clarinet, and baritone saxophone. In 1999 he was awarded the MacArthur prize for music."-Ken Vandermark Website (http://kenvandermark.com/2013/10/made-to-break-biography/)
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• Show Bio for Keefe Jackson
"Keefe Jackson, saxophonist/clarinetist/improvisor/composer, arrived in Chicago in 2001 from his native Fayettevile, Arkansas. He performs regularly in the U.S. and in Europe with many musicians including Pandelis Karayorgis, Tomeka Reid, Tim Daisy, Dave Rempis, Jeb Bishop, Jason Roebke, Jason Adasiewicz, Mike Reed, Jason Stein, Josh Berman, Fred Lonberg-Holm, Frank Rosaly, Oscar Jan Hoogland and Marc Unternaehrer. He has also appeared with Michael Moore, Ab Baars, Michiel Braam, Satoko Fujii, and Anthony Coleman. Bill Meyer (Chicago Reader): "...the impeccable logic of his lines and the richness of his tone leave you wanting more... Jackson's high-register squiggles and coarsely voiced, rippling runs push the limits of the tenor's tonal envelope." Frank van Herk, de Volkskrant (Amsterdam): "[Jackson] has an old-fashioned, warm-woolly sound, and a feeling for melodic lines that take their time in unfolding." He has been mentioned in the DownBeat Critics Poll in the Rising Star Tenor Saxophone category. Recordings are available on Delmark and Clean Feed Records."-Keefe Jackson Website (http://www.keefejackson.com/)
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• Show Bio for Jason Stein
"Jason Stein was born in 1976 and is originally from Long Island, New York. Stein is one of the few musicians working today to focus entirely on the bass clarinet as a jazz and improvisational instrument. He studied at Bennington College with Charles Gayle and Milford Graves, and at the University of Michigan with Donald Walden and Ed Sarath. In 2005, Stein relocated to Chicago and has since recorded for such labels as Leo, Delmark, Atavistic, 482 Music and Clean Feed. Stein has performed throughout the US and Europe, including performances in festivals in Lisbon, Cracow, Utrecht, Barcelona, Debreccen and Ljubljana. He has had the opportunity to perform with a number of exciting local and international musicians including: Michael Moore, Jeff Parker, Oscar Noriega, Rudi Mahall, Ken Vandermark, Rob Mazurek, Jeb Bishop, Ingebrigt Haker-Flaten, Urs Leimgruber, Pandelis Karayorgis, Fred Lonberg-Holm, Tony Buck, Eric Boren, Kent Kessler, Tobias Delius, Michael Zerang, Michael Vatcher, Peter Brotzman, and Wilbert DeJoode."-Jason Stein Website (http://jasonsteinmusic.com/biography)
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• Show Bio for Ned Rothenberg
"Composer/Performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 33 years on 5 continents. He performs primarily on alto saxophone, clarinet, bass clarinet, and the shakuhachi - an endblown Japanese bamboo flute. His solo work utilizes an expanded palette of sonic language, creating a kind of personal idiom all its own. In an ensemble setting, he leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla, works with the Mivos string quartet playing his Quintet for Clarinet and Strings and collaborates around the world with fellow improvisors. Recent recordings include this Quintet, The World of Odd Harmonics, Ryu Nashi (new music for shakuhachi), and Inner Diaspora, all on John Zorn's Tzadik label, as well as Live at Roulette with Evan Parker, and The Fell Clutch, on Rothenberg's Animul label."-Ned Rothenberg Website (http://www.nedrothenberg.com/short&extended_biography.html)
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Renga Ensemble, The: Falzone / Vandermark / Jackson / Rothenberg / Stein / Goldberg
The Room Is