The first duo collaboration between pianist Joel Futterman and saxophonist Chad Fowler, performing on stritch--a straight alto saxophone--in a nine-part studio journey drawing on a history of jazz styles, from blues to free, in lyrical and actively introspective dialogs, building to an intense conclusion of rapidly cathartic interaction and a final, pensive release.
"Those aware, open to possibilities and to whatever attendant possibilities ensue, are cognizant of moments that bespeak contexts so myriad that implication only becomes apparent with the luxury of reminiscence. Take a moment and listen as four notes issue from the middle register of Joel Futterman's piano as this first collaborative piece with Chad Fowler concludes, somewhere between proclamation and invitation; it's all Fowler needs! Picking up the narrative thread, the Protean tone emanating from his alto, rife with reiterated multiphonic suggestion, he creates an open space around which Futterman weaves intricate lines, scintillating harmony and something in-between. It's an instant indicative of deep listening, instantaneous reacting and the parallel creative courses emerging from those coexistent modalities. The opening miniature indicates what lies ahead.
Though Mahakala has released Futterman's recent Vision Festival appearance, in tribute to the late Alvin Fielder, this is Futterman and Fowler's first collaborative musical statement. Beyond the requisite depth, fire and introspection of shared inspiration, it is also graced with flashes of sardonic humor, as in the second piece, from Fowler's rollicking "Tea for Two" opening to Futterman's immediately ensuing descending sweep, all swinging into a contrapuntal blues as far down in the gutbucket as it is fractiously funny. Contrast that wittiness with the bluesy balladry of the sixth piece to hear the duo's range and versatility as they ride the chromatic waves, each leaving room for the other to bend and sway a solo or two into existence, and dig Futterman's double- time as Fowler responds with growling bebop alacrity. The fourth piece is redolent of late 1960s or early 1970s spirituality, channeling the gospel-infused freedom consciousness so important to both musicians as they've traveled their respective paths. The track arcs with a winning mixture of intensity, precision and grace, as when Fowler and Futterman complete and overlap phrases beginning at 3:37, where the pianist provides his now-ubiquitous drone. The eighth piece inhabits a similarly meditative space, awash in the dynamically disparate phrases traversing the shared territories conjoining history and influence.
Nothing prepares for the radical sound worlds evoked in the final ten-minute tour de force, the duo stretching in all directions, initiated by an incisive piano-innards strum from Futterman. Closest in spirit to the third piece, this concluding venture raises the stakes, and Fowler enhances the proceedings with his melodic multiphonics. No mere exercise in tonal complexity, he actually creates serialized sonorities, weaving webs of concentric melody to complement Futterman's thick or dotted lines and multihued densities. The two unify their work with a vocabulary as tactile as audible, palpable with shape and rhythm supporting each motive in context. Futterman's driving repetitions at 4:55 push Fowler to and beyond the limits of his instrument's range, just as their combined percussives guide the track's inaugural moments. Most moving of all, after the intensity and uplift, is the concluding minute, where the instrumental integration is so complete as to obscure identity. Temporal motion thus thwarted, we are truly in the sacred space, the most timeless of moments, the creator's abode and the listener's boon.- Marc Medwin