This group has been together since 2000 (John Carlson joined in early 2003) and things have remained pretty much as they were when it recorded its first release (CIMP 242) in February 2001. Of course, the group is tighter and more conversant with the musical terrain, but the enthusiasm for Bill Gagliardi's (b.1947, Staten Island, NY) music, the bemusement with his routines, and the frustration with the lack of live gigs has remained constant. As in the past, I tried to pin down Bill to specifics about the music. He obliquely obliged but, in the end, I realized I had no clearer specifics than whenI started. What I do have is a confidence in, and attraction to, Bill's music and the ability of the group to fill it with the artistry it deserves.
Ken Wessel (b.1956, White Plains, NY) is capable of jaw-dropping solos, focused and coherent; he always catches me off guard with his unassuming nature and powerful statements. The versatile Dave Hofstra (b.1953, Leavenworth, KS) has been a regular with groups as diverse as The Microscopic Sextet, The Dixie Peppers, The Little Huey Band, Elliott Sharp, and various John Zorn projects, and brings a nice Midwestern affability and off-hand humor to a group whose humor tends to be off the top and freely associative. John Carlson (b.1959, Greencastle, IN) was active in the Boston Jazz scene with Charlie Kohlhase, Ken Schaphorst, The Either/Orchestra, and the Jazz Composers Alliance Orchestra. Since relocating to New York City, he continues towork with his group, Free Range Rat, as well as regular gigs with the Machito and Palladium orchestras, and various other groups. Rhythm man is Lou Grassi (b.1947, Summit, NJ) who almost always plays an important role, quite outside of his musical contributions, with any group. His extensive CIMP discography speaks loudly of his artistic contributions.
The group arrived mid-afternoon and, without fanfare, got to setting up and working out the placement and sound check. By 4:30 p.m. the serpentine lines of Bill's music were in clear evidence and in balance.
We regrouped in The Spirit Room after a familial dinner. Bill commanded, "Quiet on the set... Are you ready Mr. DeMille?" and they opened with Coup d'é-tat..., the vibrations of which promptly sent the bass amp falling off its stand onto the floor. This is a layered and energizing piece which builds nicely through various solos and then is re-energized by a rather enjoyable outing by Ken.
Between each tune, there'd be a quick consensus as to the next tune, a deciphering of particular Gagliardi methodology, some insider ribbing, and inevitably some incomplete takes, as tempos and arrangements were fine-tuned. Once the mechanics were comfortable (more than once Bill called a halt, simply saying, "...it doesn't feel right.") and defined, the quintet got to the meat of the music, the improvisation, and a completed take.
The guys clearly enjoy working with each other. No doubt it's Bill's music, but theyall make it their own with an easy democratic input that often profoundly shapes and informs the music, sometimes challenging the very balance between form and function or, as John Carlson said after a number of elusive attempts to work Younger Dryas, "It was so much easier when we didn't knowwhat we were doing." In fact, it was after that attempt that Bill finally said, "Forget it. Let's do something completely different," and without any false starts (what Lou calls analysis paralysis) they crossed into the mood of Memories of Tomorrow, nailing it on the first take. This was aninteresting, many-directioned atmospheric piece with an elusive center but an encompassing whole. The mood shifted and Cosmic Monster was addressed. This time there were eight incomplete takes. On the ninth, Bill came in with a solo that referenced nothing from the previous eight attempts. Kenny picked up the vibe immediately, John contrasted with a fine solo while Dave and Lou kept the platform secure. It was clear the quintet was now lost in the music, piloted by their creative instincts. The piece ended with an unconventional, unresolved essence.
I expressed my sense of unresolve, not as arejection of the take but just as an observation. Perhaps Bill heard that as less than an endorsement and quickly called for a second take and switched to soprano sax. Take 2 is so completely different in attack and voicing (and resolve), and I've included both, not just for their musical excellence but also because this contrast illustrated well the essence of actuelle that is, or should be, the foundation for anything calling itself creative improvised music.
After a little over two hours of playing, we took a break and ate cake and watermelon while discussing wildlife, frontier justice,and double-entendres.
We were back in The Spirit Room a bit after 10:15 p.m. for The Key to the Gates, a piece with a nicely sustained after-hours ambiance and played with an ease that characterized much of the rest of the evening's work.
The next morning brought about additional takes on Kaivalya and Younger Dryas. The previous night Younger Dryas had proven particularly elusive and frustrating, which resulted in multiple incomplete or rejected takes. This time out it was a first take and excellent. At this point, as was true on Bill's previous CIMP session, we had more than enough for one excellent CD but not enough to meet a standard of excellence for a second. So a decision was made to move ahead and reach for more.
More started with Cantus planus tribus, a beautiful ballad which completely took over and changed the mood in the room and asks the question, does the music make thehour or the hour make the music?
The group continued to have what can be best described as a good time as the music continued to flow, the surprises and inspiration more often than not finding their mark.
One of the morning's pieces was O ye of little faith, written the day before the group arrived and worked out for the first time this morning. Taking into consideration the circumstances of its debut, it speaks well—not only in its musicality but also of the musicianship of the quintet. Some of the piece's construction heard are a result of Bill's conduction during the playing of themoment.
Everyone who listens to Bill's recordings comments on the fact that his compositions/music change with each reference. Perhaps it is that quality which brings that subtle sense, the insistence of freshness and surprise, to the music. It's an element clearly in evidence to those presentand, I think—accurately captured—transfers to listeners not present. A good example of essential elements being in concert.
Robert D. Rusch - May 27, 2005