![]() ![]() ![]() The lengthy “Rumor Exists under Abolished Victims” presents a series of unaccompanied passages over its eight minutes, punctuated by brief snippets of melodic dialogue. One doesn’t often have the opportunity to hear such unadulterated Perry Robinson, so this is a case of a real treat. For rather than extending the Giuffre school of clarinet, Robinson occupies the midway between two Rudd foils: Giuseppi Logan and John Tchicai, embodying both a penchant for viciously dissociative runs and a witty, cool swing. Swell and Robinson complement one another perfectly, like Roswell Rudd and Steve Lacy-Swell the punchy gutbucket with astounding technical facility, Robinson occupying a uniquely subtle sound world of bent notes (‘is that a duck call?!?’) and austere cadences. Swell’s, in a span half as long as Robinson’s, has solidified a place as the contemporary creative trombonist of choice, working regularly in the brass chair with Lou Grassi, William Parker and Dominic Duval. Robinson, of course, is the veteran of the two, having recorded his first LP, Funk Dumpling, with Henry Grimes for Savoy over forty years ago, as well as working with Gunter Hampel, Archie Shepp, Roswell Rudd and numerous others. On the structural aspects of the music, most of the pieces simply follow the usual head-solos-head form, but the poetic musical language is definitely there on pieces like "Salem-Hester Pryne" and "New Orleans-Cities & Desire." When this band is swinging, it's top notch on this welcome tour guide.With Invisible Cities, trombonist Steve Swell and clarinetist Perry Robinson have created a unique snapshot of duo improvisation that, as much as it sounds like a Saturday afternoon loft rehearsal when the rhythm section was too busy, is a compelling document of the affinity between improvisers. While not wanting to hold Malinverni accountable to how the music on this CD parallels the book, two salient features of Calvino's work could present any composer with interesting, possible musical analogs: the poetic language of the descriptions of the "cities" and the revolutionary structure of the book itself (55 short chapters grouped into 9 sections). For instance, "Salem-Hester Pryne" is a gorgeous ballad in 3/4 with a 24-measure form that allows the piano and flugelhorn to relax and really explore the alluring harmonies for two choruses each. The band sounds most at home on these types of tunes, while Malinverni's composing and playing is at its greatesthis playing always excellentin the slower, reflective pieces. "Istanbul," "Chicago" and "There's a Boat Dat's Leavin' Soon For New York" swing beautifully, Melito's drumming having a Mel Lewis quality and Okegwo with exemplary tone and pulse. ![]() It sounds like it might travel through new urban territory (particularly welcome after the overly cute arrangement of "Chicago"), but this adventure is short: 'head-in,' a tasty and skillful piano solo and then 'head-out,' the shortest track on the CD. "Cities & Time," for instance, is a piece that starts with an ostinato in the bass and drums and then brings in the horns of trumpeter Tim Hagans and saxophonist Rich Perry almost as if in another, slower tempo. Though the CD is full of good jazz improvisation (with a truly wonderful rhythm team of bassist Ugonna Okegwo and drummer Tom Melito), it also seems to be in conflict: whether to be as ambitious in concept as the book might suggest or simply to play some good, honest swinging jazz. A concept record of sorts, pianist Pete Malinverni was initially inspired to put his Invisible Cities project together after reading the Italian novelist Italo Calvino's book of the same name. ![]()
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