Jon Irabagon, Mark Helias, Barry Altschul: It Takes All Kinds

Avant Jazz / Free Improvisation / Avant-Garde
premiera polska: 2013-10-01
kontynent: Ameryka Północna
kraj: USA
opakowanie: Jewelcaseowe etui
opis:
freejazzblog.org * * * *
People were packed in to the West Villages' Bottom Line on a wet wintry night during this year's NYC Winter Jazzfest as the John Irabagon Trio took a commanding stand on stage. Between the saxophonist's confident and resourceful melodies, Barry Altshul's inventive and precise drumming, and Mark Helias' sturdy support, the group had the audience captivated throughout its fierce 45 minute set.
It Takes All Kinds captures the same trio at the Peitz Festival in Germany last year, and the recording captures all the energy and focus of this powerful group. Like on the blast of energy of Irabagon's Foxy, he again demonstrates an endless stream of ideas while spinning off melodic tangents with gusto. The music is often playful and energetic like on the muscular ‘Vestiges,’ but also deep and tense, like on the track ‘Elusive’ where Helias’ bowing adds some drama to the exotic melody and fragile pulse.
Working with Helias and Altschul, Irabagon picks up with a rhythm section with history and experience. Their work together on Altschul's Irina with John Surman and Enrico Rava is a bright spot in my record collection. It Takes All Kinds is an excellent document of this dynamic duo fronted by the vigorous saxophonist.
By Paul Acquaro

JazzTimes
Jon Irabagon’s previous recordings as a leader (Foxy, Unhinged) and his sideman work (Mary Halvorson, Dave Douglas, Mostly Other People Do the Killing) have started a buzz. No other current saxophonist encompasses his mix of explosive energy, stylistic diversity, lethal chops and radical ideas.
It Takes All Kinds is a trio album recorded live at the Peitz festival in Germany in June 2013. Irabagon, who is proficient on six reed instruments, stays with tenor saxophone. Bassist Mark Helias and drummer Barry Altschul are relentless provocateurs in the ensemble and take eloquent, comprehensive, suspenseful solos.
The first of eight Irabagon originals, all written to leverage the strengths of this trio, is “Wherewithal.” It derives music from a three-note tantrum. “Vestiges,” also based on a stark cluster, is unleashed into swing (crooked) and lyricism (jagged). At the end Irabagon comes upon an infectious little hook. Each time he repeats it he renounces it with a huge intervallic leap to a banshee rasp. It is like a duet played by his ego and his id. He is into degree-of-difficulty. On “Quintessential Kitten,” by means of circular breathing, his onslaught of 16th notes might go on forever. Then he sticks the landing. On “Sunrise” he emits short and long treble expletives that sound random until you perceive the final design. “Cutting Corners” also has notes that sound like autonomous events, lurching as they do across four octaves. It is exhilarating when they coalesce and flow.
Irabagon is one of the most exciting talents to enter jazz in the new millennium, but this record is all about a trio. The best moments (like “Pause and Flip”) occur when each player is providing so much content you think you are hearing three concurrent separate solos, but they turn out to be a deep interaction, creating spontaneous form
By Thomas Conrad

muzycy:
Jon Irabagon: Tenor Saxophone
Mark Helias: Double Bass
Barry Altschul: Drums, Percussion

utwory:
1. Wherewithal 7:03
2. Vestiges 6:51
3. Quintessential Kitten 10:33
4. Elusive 9:44
5. Cutting Corners 6:18
6. Unconditional 10:08
7. Sunrise 6:52
8. Pause And Flip 10:02

wydano: 2013
nagrano: Live recording made on June 8th, 2013 at the Jazzwerkstatt Peitz No. 50 Festival/Germany