William Hooker

Veteran American percussionist William Hooker goes a long way towards exhibiting his conceptual and compositional prowess on this discs by perceptively choosing a double instrumental configuration in which to exhibit the result. Hooker, who has investigated ensembles ranging from solo to bands with the likes of Elliott Sharp, expansively explores these nuances on the nine tracks of Blue Moon with an ensemble of three horns, three keyboards, two percussionists and a bassist.

Drawing on his experience, Hooker’s moon exploration alludes to many strands of creative music. Tenor saxophonist Stephen Gauci and alto saxophonist Sarah Manning invest tracks such as “Ring-Pass-Not” and “Synthesis of Understanding” with the sort of expansive and ecstatic flutters, multiphonics and overblowing associated with the best of Free Jazz. Despite extended reed techniques which frequently explode into altissimo screams and vocalized split tones, the players maintain thematic connections with the other instruments, especially the sometimes clarion, sometimes craggy flutters from Charles Compo’s flute. As well there are several reprises during “Synthesis of Understanding” where among the vocalized cries, pounding percussion and contrapuntal transmission of the propulsive authoritative narrative, that Gauci appears to be regularly playing snatches of “Canadian Sunset”.

Expressing other variations of Hooker’s compositions, bassist Jai-Rohm Parker Wells avoids the spotlight, except on those instances where his relentless pulse pivots towards four-square funk riffs. This is particularly effective during an interlude on “Seven Rays” where his unforced groove bridges an exposition of vamping vibrations and irregular screams from the dual saxophones and gentle flute peeps. In other places, Parker Wells’ funk-like affiliations partners with percussion clip-clops to set up later Free Jazz freak outs. Theo Woodward’s synthesizer oscillations are mostly there for respite and coloration, adding organ-like tremolo, guitar-like flanges or strained vocoder-like textures. The one departure is the video-game soundtrack-like quivers he produces to introduce “Sequence of the Form”. This brings out a swirling polyphonic sequence that is otherwise characterized by dramatic cross-hand piano pressure and door-knocking ruffs and paradiddles from the percussionists. Singly or in tandem, pianists Mara Rosenbloom and Mark Hennen provide outline the shape of most of the Hooker compositions here. Able to assume formalist, almost Impressionist keyboard motifs that carefully outline the suite’s more moderate themes, each can splash enough segmented glissandi, contrasting dynamics and pin-pointed key clips to add to the angular interface of the more dissonant tunes. Also functioning alone or in tandem, Hooker and Jimmy Lopez not only provide the percussive underpinnings of all nine tracks, but also are able to use hand-drumming motifs to suggest an Africanized or Caribbean feel.

When all the fluctuating elements come together in the fluctuating, patterning and polyphonic climax which is the concluding “Extra-Planetary Livingness”, it confirms Hooker’s ability to create another monumental as well as thoroughly unique work.

–Ken Waxman

Track Listing: 1. Stations of Power 2. Right Speech 3. Ring-Pass-Not 4. Major Planetary Centres 5. Seven Rays 6. Sequence of the Form 7. Synthesis of Understanding 8. The Council Chamber 9. Extra-Planetary Livingness

Personnel: Sarah Manning (alto saxophone); Stephen Gauci (tenor saxophone); Charles Compo (flute); Mara Rosenbloom, Mark Hennen (piano); Theo Woodward (synthesizer) Jai-Rohm Parker Wells (bass); William Hooker (drums); Jimmy Lopez (percussion)