The collaboration between Bobby Few (1935, Cleveland, OH) and Avram Fefer (1964, San Francisco, CA) goes back to the mid 1990s in France, where Bobby has lived since the late 1960s and where Avram lived for a number of years in the early 1990s. It had been a fruitful though relatively undocumented collaboration. However, in 2002, Boxholder Records began to release a series of their (duo and trio) recordings. This is their first quartet release.
When CIMP first recorded Bobby in 1997, I wrote that I hoped it would “…mark the beginning of interest, in America, of this native son.” Eight years later, it’s a case of hoping the interest will continue to increase. Interest in Avram is also on the ascent. Relatively late in documenting his work, people are beginning to take note of his careful constructs and powerful delivery, and, in 2005 alone, he will just about double his discography with at least five records as leader or co-leader.
Joining Bobby and Avram for this date are Hill Greene (1958, Logansport, IN), bassist and music director for Little Jimmy Scott since 1990 but also at-home in the post Bop inventions of the current new music scene; and Newman Taylor Baker (1943, Petersburg, VA), one of the dependables in Jazz going back to the mid ‘70s, and perhaps best known for his lengthy association with Billy Harper. More recently, Hill and Newman have been working with saxman Patrick Brennan, as documented on recordings on Cadence Jazz Records (1168) and CIMP (305).
Time is finite and events unfold in ways seemingly of order or disorder, quickly or drawn out. But time continues to eat away, unrelentlessly, often causing its own tension or resolve. Various factors (including the misplacing of the Steinway concert grand piano, which, in turn, pushed back the piano tuning) delayed this session from getting underway as scheduled. The piano’s disappearance along with missed signals, various delays, and an extended set-up and sound check all conspired in concert, and time (with no regard for human concerns) just kept moving on through the morning and into the afternoon.
Numerous sound checks were made using Far To Few as the vehicle. Just before we were ready to start the actual session, Avram caught his soprano on his pants and sent the instrument crashing and sliding about six feet along the floor. A quick triage was followed by a few blown intros/heads, causing further delay, and an increased focus (on what had been the familiar) now caused a kind of awkward introspection and stiffness of presentation. On about the sixth run-through of Far To Few, Hill came in (following Bobby’s and Avram’s opening) with the perfect swagger, Newman taffy-ed the press roll, punched it out, and all the tension turned into hip, flowing music and the energy moved to positive. From Far To Few they went into Avram’s Sanctuary. Bobby’s opening flourish was a last minute structural shaping by Avram, its inspiration coming from ideas Bobby was playing out just prior to the take. Next up they played for Frank (Lowe), a piece that—in its herky-jerky line—suggests the flavor often found in Frank’s music. Another example of Avram’s distinct and multi-sectioned compositions, its final arrangement and strategies were arrived at in the space immediately preceding this take. There is so much to appreciate in the various pockets of this music, little gems that set off the next improvisation and, in turn, shine a reflected light on the previous section. Nice music, strongly executed and with purpose.
The second half of the afternoon was given over to Club Foot, a tour de force for the whole group, which is anything but club-footed; City Life, with its graphic impressionism of urban energy; and Bobby’s Boobree, a comfortable ballad with some wonderfully evocative solos that (as it was performed within sight of the end of the day’s work) is perhaps reflective of the shared experience.
In the end, we made time within time in time. To suggest great efforts were not made would be erroneous. This playing was work, and to suggest it is anything less than inspirational or musical would be missing the artistry of the whole. The rewards are in the pleasure of its treasures. Bobby, Avram, Hill, and Newman—thank you for your efforts.
Robert D. Rusch - June 7, 2005
