I cannot think of any recorded work by Donald Robinson (1953, Boston, MA), Lisle Ellis (1951, British Columbia), or Marco Eneidi (1956, Portland, OR) that has not justified the involvement of the listener. Donald first came to my attention through his long association with Glenn Spearman and later as a member of the very fine trio What We Live, a West Coast-based collective (with Larry Ochs and Lisle), while Lisle’s first real attention-getting affiliation was as a partner with pianist Paul Plimley, also West Coast-based. Marco’s outside exposure was as part of the East Coast New Music scene of the early ‘80s where he was a leader and member of various groups including Bill Dixon’s ensembles, Sahib Sarbib’s Big Band, and Raphe Malik’s Quintet, before moving to the West Coast in 1994.

The trio came in from California to appear at the Fire In the Valley Festival and then record for CIMP two days later. All arrived by mid afternoon and began setting up. By 3:30 p.m. they were warming up, rehearsing, and getting an audio balance. The sounds are edgy and dynamic, so much so that, once we begin formally recording the music, I feel things pull back a bit; anticlimactic but not atypical in my experience.

We break for supper, after which Donald goes back to practice. By 9 p.m. we are back recording. It is a curious sight: the three musicians are almost in a straight line to each other. Donald (his right foot [bass pedal] bare, his left foot [hi-hat] socked and sneakered) sits facing 12 o’clock. Lisle (his head almost shaved, a stubble beard, and with under-lip jewelry) is to Donald’s immediate left, facing Donald’s 2 o’clock, while Marco (goateed, in socks, and with a long ponytail) is a little in front of Lisle’s immediate left, facing Donald’s 8 o’clock. They launch into Camminare and, as Marco begins to develop his solo line, Donald calls a halt. Lisle, immersed and obstinate by nature, continues to play until reality catches up to him. Donald fine-tunes for feeling and Camminare, take 2, plays out its wrenching and beautiful dirge. Lisle pulls the strings, Donald punches with brushes, and Marco summons any of the remaining spirits not yet summoned. It is a moving encounter and the first entry on the enclosed concert.

After a short break, Donald works out the form for Jump and a strong, but too tense, take follows. A discussion about some of the finer musical points follows and a second take is attempted, but the second take is incomplete as Donald (the meticulous) interrupts it to add some more refinements. Take three is complete, but not for posterity. Unvoiced but understood, the piece stays and the session moves on.

Donald begins to understand the pressures of being session leader versus being sideman. This is Donald’s first session as leader and, as the evening progresses, heavy becomes the brow that wears the crown.

The next day we are up early and, after a rather leisurely use of time, we begin recording at 11 a.m. Lisle announces that some West Coast music will be played; he sits down with his ever present sketch book, and begins drawing while Donald and Marco do duos (Tondo), which eventually leads into a cycle of duets. As the morning passes into the afternoon, an intriguing program of music is slowly emerging; aggressive but also quite deferential and celebratory, but decidedly melancholy. By around 3 p.m., we are finished and eat, after which Donald says he wants to do more. Marco unpacks his sax, boots up, and once more Jump is addressed. This time it’s a slam dunk and everyone is satisfied. The beast has been tamed.

Here is a line of music, out of step with its assumed geometry, but in this case the most direct connection to three souls. Straight lines skewed.

Robert D. Rusch – 10/19/99