Art is reflective and creative improvising music is particularly reflective, not only of the past but also of the moment. Sensitivities, interpretive abilities and technical skills come together with the moment and shape each performance, giving each its own unique shading. Elements as nonmusical as health, personal situations and sleep all have their effects. Supposed perfect conditions can yield imperfect results and less than hoped for conditions can be factors in producing exemplary work. Why this happens is a mystery, but the effects on the end statement, while usually indeterminate, are real.
Weather was a major factor in this recording, its value neutral as to “good” or “bad.” I can’t speculate on its effect except to mention it as one of the major factors during the recording.
The Spirit Room is located in northern New York and we get a wide range of temperatures (anywhere from around -30°F to +95°F) over the period of any given year. The summer of 2001 had already supplied us with its usual allotment of hot days and by the time of this session we were in the midst of a second prolonged heat/humidity wave and drought.
We were supposed to have begun this session during the evening of August 6th. However, it was so hot and muggy we instead decided to begin early in the morning, at which time temperatures are usually in the low 60s. Remarkably, the temperature by the next morning had fallen only into the mid 70s and before 9 a.m. the temperature was already in the high 80s. Those were the conditions in which this concert took place.
This is Jay Rosen’s (1961, Philadelphia, PA) second session as sole leader and grew out of his last (CIMP 211), a Sept. 1, 1999 quartet date which also included Paul Smoker (1941, Muncie, IN). Previous to this, Jay had recorded with Paul and Herb Robertson (1951, Plainfield, NJ) a number of times and, in fact, Herb and Paul had recorded together ten years earlier as part of a Phil Haynes session for Open Minds Records. Still, a trio (two trumpets and percussion) seemed a pretty improbable setting to me, but so had Jay’s last outing (two reeds, trumpet, and percussion) and that exceeded my expectations. In addition, this was not just two trumpets and percussion, this was a pairing of the unique and often brilliant talents of Jay, Paul and Herb. If you know their work, you already anticipate this effort. If you don’t, this will prove my point.
Jay introduced the proceedings by dedicating transcendence to Katherine Duval (bassist Dominic Duval’s wife, who had died of a brain tumor a month earlier at age 48). OK - words. But words heartfelt and translated into remarkable music. Jay opened solemnly with mallets before the trio unfolded a rich tapestry of statement. It was a magic moment; the heat was forgotten, the humidity unfelt, my endorphins unleashed. I think we were all reminded why we are involved in this work and I hope the listener will find affirmation in this reflective artistic statement.
The next piece, system(s), was, at Jay’s direction, set up by Herb, eventually breaking into a solo outing by Paul, which in turn inspired Herb to engage in what might be considered a post Bop chase.
flair-up has Paul playing over the soundscape set up by Herb and Jay. Notice how, about 3-1/2 minutes into the piece, Herb and Paul come together and the lead is passed over to Herb, Jay builds the tension and the two trumpeters trade off each other, leading into a drum break, release and a series of trades.
Following a break, Jay suggested a ballad (solarity). Here the horns open impressionistically over Jay’s brushwork before moving into more counterpoint and an emotional resolve.
Earlier, Paul had spoken about doing “that drum and bugle thing” and out of that evolved
D and B Core, a forum for Jay’s well paced drumming; a short trip presented with humor.
Following grace through courage (for Billy Higgins) and a break, the trio regrouped. The trumpeters muted up and took the lead on de-coded, a harmonic and evolutionary journey that was immediately followed by the others, which had Herb modifying his slide trumpet on the introduction to this adventure and Jay listening carefully for his space and place in the conversation between the two trumpeters. This is a great example of the use of restraint, space and the virtues of silence.
And then another break during which Paul wondered aloud, “What would happen if we did a piece where we all were accompaniment?” to which Jay responded, “That’s a good idea. I know exactly what you mean.” “We’ll do whatever we want but we keep that idea,” Paul suggested. The result was supports. The listener is invited to mind solo before direction, resolve and conclusion come about in this exercise in tension and restraint. torrentials is a release of sorts and preceded another break.
At this point Jay was inspired to do another solo (jaropean dance) while Paul and Herb moved outside to listen. And when it was over, it was felt that what had to be said was said. Applause, applause, applause…
There is little fat on this music. Each effort was calculated to count, a natural conserving against the onslaught of the elements. A united effort, this concert is original in its conception, inventively executed. transcendence (for Katherine Duval) got us off to a great start and the concert ran strong through to a satisfying end.
Robert D. Rusch - August 7, 2001
