Ethnic Heritage Ensemble: 21st Century Union March

Avant Jazz / Free Improvisation / Avant-Garde
premiera polska: 2004-06-10
kontynent: Ameryka Północna
kraj: USA
opakowanie: Jewelcaseowe etui
opis:
diapazon.pl:
[...] Grupa powstała w roku 1976 by łączyć współczesne dokonania amerykańskiej muzyki jazzowej (spod znaku AACM), free jazzową kolektywną kreację muzyki z tradycyjną afrykańską instrumentacją i takimiż rytmami. Wszyscy przewijający się przez ten zespół muzycy są multiinstrumentalistami. Każdy z nich, oprócz gry na swoich zasadniczych instrumentach, gra na dużej ilości instrumentów perkusyjnych, najczęściej o rodowodzie afrykańskim.[...]
Editor's info:
Increasingly the Ethnic Heritage Ensemble has tended to promise more than they deliver; the original premise still holds (two outside horns over a variety of percussion backgrounds) but it seems to have become reined in over the years. What we have here is a final (possibly, there may be more in the can) outing by one of the more stable lineups.
Both Wilkerson and Bowie are exceptional players, and my frustration - which may not be wholly realistic, after all - is that we have all too few opportunities to hear either of them cut fully loose. Although the Ethnic Heritage Ensemble looks (at one level) like it should be that opportunity the concept carries all before it and the soloing is relatively muted. Wilkerson only really breaks out on "Dear Albert", while Bowie generally is the more outgoing of the two. What's really most striking is the way that while the two horns will overtly interact with each other (either with horn backing while the other solos, or on assorted percussion) there really is no dialogue with El'Zabar.
Most of the pieces here fit neatly into the established Ethnic Heritage formula (two on trap set, two on earth drum, three on thumb piano); El'Zabar sets up a rhythmic pattern, the two horns quite lengthily play the - fairly dreamy - arrangement, as often as not in unison before soloing from all three and another quite lengthy unison exit. I'm also noticing a tendency for pieces on El'Zabar's recordings to be faded rather than reach a clear conclusion. What's more apparent here than I recall from other EHE recordings is that even on the trap set pieces El'Zabar is playing fixed patterns.
The chief exceptions to the formula are Bowie's "Missing Miles" which is played with horn lead and drums following, it seems to be completely arranged, is probably the most unique performance on the CD and the final untitled cut where all three play percussion. Again, not a lot of movement, but at least a bit of variety.
Restraint is very much the name of the Ethnic game, and we see this once more in the more recent grouping where Ernest Dawkins replaces Wilkerson. I guess I express a degree of disappointment in so far as the performances don't match my wishes rather than my expectations. In its own terms another fine example of the Ethnic Heritage Ensemble style - not really any better or worse than predecessors or followers; I may sound lukewarm but that's because I'm really missing what these two horn players could achieve if they ever set down on record what they can produce in person. But it would have to be with a more fluid percussionist (if they needed a percussionist).

muzycy:
Joseph Bowie: trombone, miscellaneous percussion
Edward Wilkerson: tenor saxophone, alto clarinet, miscellaneous percussion
Kahil El'Zabar: earth drums, sanza, miscellaneous percussion, vocals

utwory:
1. Crumb Puck You Let Slide (Kahil El'Zabar) 6:48
2. Fanfare (Kahil El'Zabar) 8:58
3. Lover Man (Ramirez / Davis / Sherman) 3:23
4. How the Cow See Cirrus (Kahil El'Zabar) 11:43
5. Missing Miles (Kahil El'Zabar) 5:03
6. Burundi (Kahil El'Zabar) 10:05
7. Love Outside of Dreams (Kahil El'Zabar) 6:27
8. Dear Albert (Kahil El'Zabar) 9:01
9. Procession (Kahil El'Zabar) 3:14

total time - 72:44
nagrano: 1995
more info: www.silkheart.se