Transitions

Dell/Lillinger/Westergaard
Beats II
Plaist 014

A vibraphonist on the go, Köln-based Christopher Dell has worked with numerous musicians throughout Europe, although his most recent attachment has been in a trio with fellow German, bassist Jonas Westergaard and drummer Christian Lillinger. Beats II is the trio’s fourth ongoing interaction. However the vibist’s contributions to Transitions Five are even more notable. A transatlantic group, Transitions links Germans Dell, drummer Klaus Kugel and bassist Christian Ramond with Americans, trumpeter Nate Wooley and tenor saxophonist/clarinetist Ken Vandermark. All are usually involved in Jazz’s free music continuum. That’s what  makes these discs unique however. The quintet disc could be a Hard or Free Bop CD, while the trio CD suggest one of those Music Minus One sessions from the 1960s.

Without splitting hairs, the eight instant compositions that make up Transitions Five earn the Bop sobriquet because of the steady pulse projected by Kugel’s powerful ruffs and Ramond’s carefully engineered thumps, as well as the ferocity with which Wooley and Vandermark tear into the material. While the suite’s lilting rhythms also suggest elaboration of Hard Bop classics, solo motifs adapt the advances of Free Music. This is especially true when Dell’s resonator ringing adds light and angled tremors to the narratives and when Vandermark’s clarinet squeaks challenge with split tones tunes’ linear progress.

This is demonstrated on a track like “Transition II”, where the atmospheric introduction features shimmering vibe reverberations alongside low-key brass wails and in-and-out reed respiration before Vandermark’s broken octave squalls break free, dominating the last sequence. This synergy can he heard as part of prestissimo evolution, based on vibe chiming, drum paradiddles, dissected brassy textures and renal reed honks, or it can take place at a (s) lower pace. When that does happen vibraphone tones usually swell to multi-mallet relaxed strokes in order to harmonize with unison horn timbres consisting of portamento brass cries and quieter sax slurs.

“Transition IV” is the most prolonged demonstration of this teamwork and highlights the Hard Bop/Free Bop division. Dell’s swinging introduction, backed by subtle bass and drum cadences could come from a Milt Jackson session until irregular saxophone snarls and framed brass triplets break up the expected flow. Vandermark’s double-tongued snarls further upset the exposition, as do gurgling trumpet shakes and drum smacks. Still,  returning vibraphone slaps return the theme to a quieter and slower finale.

The situation isn’t as straightforward on Beats II. Made up of 20 tracks that range from 15 seconds to a little over five minutes, with most in the 90 second range, emphasis appears to be on how many tones can be worked into each track without resolution. Essentially each one seems part of an unending collection of rhythms, uniting Lillinger’s clatter and crunches, Dell’s glossy pops and timbral doubling and Westergaard’s steadying thumps. The bassist, who has recorded with everyone from Ronny Graupe to Torben Snekkestad, and the drummer, who has played with innovators as different as Gordon Grdina and Ernst-Ludwig Petrowsky, have contributed to major musical statements elsewhere. The point of this disc, which suggests those Music Minus One play-along LPs, designed for aspiring live soloists to interact with a recorded rhythm section, is a puzzle.

Although all three players manage to show off the rhythmic variations possible from their respective instruments, and latterly a touch of electronic processing adds diverse timbres, but resolving any musical concept in under two minutes is problematic if not virtually impossible. Even those few tracks which alone, or when coupled with one immediately afterwards suggest completion, a lack of empathy remains. For instance “element purple” featuring vibe vibrations doubled by double bass thumps and repeated drum clanks may shift tempos, but lacks defining linear movement. Furthermore “element khaki” and “element light-blue” which end the disc may be colored with rotating vibe pressure and a bass line that regularizes percussion patterning yet evolution stops right there. As for “element beige” and “element violet”, repeated mid-range patterning from each player moves from the processional to an approximation of swing, however a fully realized musical portrayal still eludes the trio members.

Transitions Five is a definite meeting ground for accomplished German and American improvisers in the form of an evolving and exciting suite. Notwithstanding the skills of the participants is multiple other situations, Beats II may expose numerous elements, but proper musical chemistry is still lacking.

–Ken Waxman

Track Listing: Transitions: 1. Around Town  2. Transition I 3. Transition II 4. Transition III 5. En Attente 6. Transition IV 7. Transition V 8.Transition VI

Personnel: Transitions: Nate Wooley (trumpet); Ken Vandermark (tenor saxophone and clarinet); Christopher Dell (vibraphone); Christian Ramond (bass) and Klaus Kugel (drums)

Track Listing: Beats: 1. element red 2. element yellow 3. element wine-red 4. element orange 5. element green 6. element pink 7. element white 8. element cyan 9. element blue-purple 10. element grey 11. element purple 12. element blood-orange 13. element mint-green 14.  element violett 15. element beige 16. element violet 17. element bright-pink 18. element red-brown 19. element khaki 20. element light-blue

Personnel: Beats: Christopher Dell (vibraphone); Jonas Westergaard (bass) and Christian Lillinger (drums)