Those Ornette Coleman piano-less groups certainly provide a timbral backdrop, but the melodies touch everything from “Nardis” to “Freedom Jazz Dance” and so much inbetween. There are so many historical connotations in each moment of this set of concert recordings that to catalog them would be futile at best.
It all builds in energy and mystery only to be subverted by a pause, a tempo change and a slow return to relaxed swing, loping infectiously into von Orelli’s solo. Yet, what good would detail be if not in the proper context, established as Sisera’s solo flows with understated ease into von Orelli’s wistful melody, first in hushed reverence and then swinging as Suder’s susurrating cymbals raise the tension. Listen to Sisera’s first note and subsequent octaves on “Forbidden Fruits” to get a flavor of his exquisite tone and for a recording to match. There is detail a-plenty in which to revel and luxuriate. The group charges and roils, but relaxing in the post-Miles fashion is just as integral to the game. He’ll isolate a blues lick, rendering it the dual reference and signpost it certainly is, thereby micro-historicizing one fraught moment from these brilliant quartet performances by trumpeter Marco von Orelli, reedsman Tommy Meier, bassist Luca Sisera and drummer Sheldon Suter, and well he should. Music like this, steeped in history but brimming with quiet instantaneous innovation, should be explored in terms of its details in smart context, which is exactly what he does. While it seems counterintuitive to begin an album review by discussing the liner notes, Brian Morton’s approach is spot on. (ezz-thetics 1002 by Hat Hut Records Ltd) Marco von Orelli / Tommy Meier / Luca Sisera / Sheldon Suter Simply stated, the musicians cover a wide gamut of jazz-induced genre-bending activities sans any hint of filler material.
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The final track, “Wittgenstein,” is nestled in the free zone, featuring the soloists’ gritty theme-building exercises, heightened with a rampage of sorts, where they thrust matters into 10th gear via a catchy melodic hook.
Occasionally, they underscore some of Ornette Coleman‘s free bop escapades, although they alter the pace on “Maiduguri,” commencing with a requiem-like gait, moving towards a steady pace, but colorfully contrasted by Meier’s bass clarinet phrasings atop the rhythm section’s looping ostinato, and consummated by the hornists’ bluesy intonations. Yet during other movements throughout the album the band takes its time to explore and reinvent, accomplished with various tempi. And on works such as “Part of a Light” the band renders spiffy linear progressions, as the bassist and trumpeter traverse a horde of snaky mutations. Sheldon Suter’s brisk and fluid drumming generates quite a bit of pop and nuance. Moreover, trumpeter Marco von Orelli and saxophonist Tommy Meier‘s sinewy groove-driven unison choruses along with odd-metered detours combine a sense of normalcy with offsetting maneuvers. The band translucently shifts paradigms while bringing a signature mode of attack to the table, firmed up by bassist Luca Sisera‘s stout and lyrical lines amid the quartet’s undulating deconstruction and rebuilding processes. Recorded live at venues in Switzerland, the respective musicians comprising this quartet have made the rounds across Europe’s fertile progressive jazz scene as leaders or valued sideman for numerous entities, largely focused on generating an outside-the-box schema in various shapes, forms and colors.
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