Samo Šalamon Freequestra

Orchestra Entropy
Rituals
DISCUS 85 CD

After a century of innovation, the challenge allied with creating a program for a large ensemble of improvisers is focus. Unlike so-called classical music orchestras with their strict adherence to the score, there’s no right or wrong way to improvise and these bigger European ensembles here follow opposite approaches with equally memorable results.

Known as an adventurous player in small groups featuring everyone from Tim Berne and Gerald Cleaver to Dominique Pifarely and Michel Godard, Slovenian guitarist Samo Šalamon moves into another realm with Free Sessions, Vol. 2, having organized an 11-piece, mostly Slovenian group to play his compositions in an atmosphere offering extensive solo freedom. Although younger British tenor saxophonist Matt London created a analogous framework for 10 improvisers to interpret Rituals, his nine-part, open notated graphical score, his analogous grounding in notated contemporary music makes its presence felt alongside characteristic solos from some of the UK’s most distinctive players.

Formally constructed with duo, trio and singular solos and a cumulative finale, Rituals ambles decisively, guided for the most part by the percussion skills of Mark Sanders. Along the way distinctions are often obvious. “Rituals Part 5”, for instance, is built around a trio of violinist Rebecca Raimondi, violist Benedict Taylor and double bassist Seth Bennett who create a gentle and recital-like sequence that’s almost impressionist. This contrasts sharply with trombonist Gail Brand’s slithery capillary workout on “Rituals Part 1” as well as the barbed slices from Bennett that are matched with resonating frails from guitarist Moss Freed and decisive clip-clops from the drummer on “Rituals Part 2”.

Happily the relative value of each of these individualistic interpretations is put into bolder relief during “Rituals Part 7”, the nearly 12 minute cardinal centre of the performance. Synthesizing the orchestral variants of light and darkness characterized by the elevated tones of Georgia Cooke’s alto flute and the subterranean snorts from Seb Silas’s baritone saxophone, the carefully layered sequence moves from ghostly lighter-than-air motifs to barking snarls and split tone action, culminating in a moderato amble in which a menacing counter theme propelled by guitar plinks, double-stopping strings and bass drum smashes overtakes the exposition only to harmonize with it by the end.

With notable solos including slithery vibrations from bass clarinettist Tom Ward, raucous patterning from Brand and a tattoo of woodblock and cowbell resonations from Sanders, the program moves through an unforced alto saxophone interjection by the composer to upswing into its finale, which culminates in the harmonization of harmony of arched brass textures, glossy reed timbres and measured string pops.

If control is the watchword of Rituals, then flexibility is more evident on the other disc’s seven tracks. Oddly enough though, the most formal performance comes on the three-part title track. With the introduction characterized by sweeping cadenzas from pianist Marko Črnčec contrasted with stop-start electronic dial-twisting from the three computer manipulators, the narrative soon explodes into an energetic exposition of trombone barks from Žiga Murko and cascading overblowing from saxophonists Achille Succi and Boštjan Simon. Reaching a primary crescendo that development is later de-emphasized with unhurried keyboard swing, staccato puffs from the reeds and an underlying ostinato from tubaist Goran Krmac. All traces of chamber music are swept away by “The Free Suite Part III: however as rugged ruffs from dual drummers Bojan Krhlanko and Jaka Berger, metallic frails from guitarists Šalamon, Domen Gnezda and Vitja Balžalorsky mix with vocoder-like buzzes and snuffles from the horns, culminating in a finale of dissolving programmed whistles and whooshes.

Perhaps understandably, Free Sessions is very guitar-oriented, with multiphonic flanges and flails often coloring the exposition. But Krmac, whose tuba puffs are used as if a brass double bass throughout, consistently maintain balance so that others’ solos are expressed on top of a solid base. At the same time it’s the 18½-minute “Evolution” which provides the most real estate for extensive improvisations. Subtly advanced from tuba bellows and drum ruffs at the top, the track soon divides into a series of solos, including violinist Matija Krečič’s staccato string slides and duets involving chunky guitar runs and piano meditations. Eventually these individual outpourings are harmonized into repeated and dynamic ensemble flutters and shakes, involving expressive motifs from the reed, brass, string and percussion sections. Slurps and tongue slaps from the reeds finally dissipate any musical pressure so that a comforting ending is achieved.

Doubly memorable, while neither of these contradictory versions of ensemble showcases is the definite explication, each provides an equally valid argument as to how large group composing and playing can be presented.

–Ken Waxman

Track Listing: Rituals: 1. Rituals Part 1 2. 3. Rituals Part 3 4. Rituals Part 5. Rituals Part 5 6. Rituals Part 6 7. Rituals Part 7 8. Rituals Part 8 9. Rituals Part 9

Personnel: Rituals: Sarah Gail Brand (trombone); Matt London (tenor saxophone); Seb Silas (baritone saxophone); Tom Ward (bass clarinet); Georgia Cooke (alto flute); Rebecca Raimondi (violin); Benedict Taylor (viola); Moss Freed (guitar); Seth Bennett (bass); Mark Sanders (drums)

Track Listing: Free: 1. Opening 2. Rhythm in Mind 3. Evolution 4. Rise and Fall 5. The Free Suite Part I 6. The Free Suite Part II 7. The Free Suite Part III

Personnel: Free: Žiga Murko (trombone, electronics); Goran Krmac (tuba); Achille Succi (alto saxophone, bass clarinet); Boštjan Simon (tenor saxophone, electronics); Marko Črnčec (piano); Matija Krečič (violin); Samo Šalamon (guitar); Domen Gnezda and Vitja Balžalorsky (guitar, electronics); Bojan Krhlanko and Jaka Berger (drums, electronics)