This documents John Gunther’s third trip to The Spirit Room. The first time was just with Jay Rosen & Leo Huppert (CIMP 136), then Ron Miles was added for a quartet (CIMP 163), and now, with the addition of Rob Thomas, a quintet. Aside from the abilities of the individuals, what marks all 3 of these sessions is John’s compositional abilities.
John Gunther is, arguably, one of Jazz’s finest composers. Pithy and thematic, his compositions compete with the finest improvisation for your attention. Even so, they are opened for extended improvisation and avoid getting tied up by their own structure.
I was so taken back by John’s last set of compositions, exposed on CIMP 163, that when he called me earlier in the year about the possibility of doing another recording, I only asked for reassurance that he had more of his engaging compositions.
Jay and Leo arrived first, early in the afternoon of June 11. While I was jawing with Jay, I asked, “How’s the music?” His answer: “Great. Some of this music is really beautiful. You’re going to love it!”
All of the music here comes from the second day of recording. The first day suffered from general fatigue, too much food, and an assumption, I think, that the real attempt at recorded excellence would take place the next day. Nevertheless, the group ran through all the music, contributed the occasional individual inspired performance and, overall, just enjoyed themselves. And by exposing the music, they psyched me up for the next day’s concert. As Jay had said, this is beautiful music and I looked forward to its performance by wonderful players.
New to the group is Rob Thomas. His violin brings a richer orchestral sound which complements the longer form that John has developed for this concert. Rob’s playing exhibits a touch of Michael White’s early flavor. It has an Eastern tinge which I find very attractive and, indeed, Rob (born in 1954 and raised in Portland, OR) admitted to, as a child, listening to Mike White’s Forth Way group. Ron, a man of few words, seems to be able to execute a broad range of coloring appropriate to various settings, especially valuable on this ensemble setting. Leo’s bass seemed particularly rich and melodic this time (he also plucks the viola).
Precision is a major factor in this music. Here we are dealing with 3 long pieces and a composed structure which moves through various transitions of time and tempo. CIMP does not edit, or cut & paste performances together, so it becomes an added challenge for the musicians to execute with precision and maintain the structural integrity of the compositions while still imbuing the music with a richness of improvisation all in a seamless breath.
Is it improvised? Is it written? More importantly, is it good music? Does it move you, affect you? Do you want it not to end? The music here bursts forth with some of the intangible joys that make life not only bearable, but so passionately held onto by those lucky enough to experience it with a sustaining frequency.
It is an invigorating breath, good moments in life, a tonic which I hope you share.
Robert D. Rusch - 6/12/98
