Jazz and Improvised

Offering
Rob Clutton with Tony Malaby
Snailbongbong SBB006 (robclutton.bandcamp.com)

Bassist Rob Clutton has long been a mainstay of Toronto’s jazz community, as diligent supporting player in the mainstream and a creative catalyst in more adventurous settings. Clutton leads his own Cluttertones, combining songs, synthesizer and banjo, and he’s explored individualistic inspirations on solo bass. Here he’s playing a series of duets with New York saxophonist Tony Malaby, a fellow member of drummer Nick Fraser’s Quartet, and a standout soloist, whether for the animated gravel of his tenor or the piquant air of his soprano.  

That pared-down instrumentation reveals its rationale on the hymn-like title track, one of Clutton’s seven compositions here, his bowed bass complementing Malaby’s warm, airy tenor sound. On Refuge, as well, the two reach toward the grace and intensity of John Coltrane. Often admirably concise, the two can also stretch out, extending their spontaneous interaction on Crimes of Tantalus.

Among the three improvisations, Swamp Cut has both musicians reaching deep into their sonic resources, Malaby’s grainy soprano meeting its double in the high harmonics of Clutton’s bowed bass. The rapid-fire Twig has Clutton to the fore, plucking a kind of compound ostinato that fires Malaby’s lyricism. Swerve has as much focused energy and raw expressionism as bass and tenor might provide, while Nick Fraser’s Sketch #11 possesses a special melodic attraction.

Throughout, one hears the special camaraderie that two gifted improvisers can achieve in a stripped-down setting, while Clutton’s compositions could support a larger ensemble and further elaboration.

Liminal Spaces
Simon Legault Trio
Effendi Records (effendirecords.com)

Simon Legault’s previous album was titled Hypnagogia Polis (2017) which referred to a transitional state from wakefulness to sleep and featured a quintet. Liminal Spaces (2019) is a trio album which includes Adrian Vedady on electric and acoustic bass and Michel Lambert on drums. Liminal means “relating to a transitional or initial stage of a process.” Therefore the theme of “transitions” can explain many of the melodic and compositional elements of his work. Legault’s guitar playing is both clean and precise and includes a spacey quality that hints at other worlds and explorations beyond the immediacy of the groove.

Many of the pieces seem to have evolved from improvisations and work organically through several organizing ideas or movements. The opening Liminal Spaces contains many rubato portions which draw on Legault’s melodic scampering; a pastiche of percussive nuances from Lambert provides a nuanced and shifting backdrop. Solus I, II, III and IV are shorter solo guitar works that explore a variety of melodic and harmonic ideas, all in relatively free time. On the other hand, Inflexion has a solid groove and a harder bop feel which Vedady and Lambert accentuate with great ensemble backing. Interwoven’s title could refer to the opening contrapuntal interplay between guitar, bass and drums which propels us forward to the busier middle section that showcases some excellent and articulate guitar chops leading to a thoughtful bass solo.

Legault’s “process” works to create a fascinating album that is introspective with bursts of melodic and rhythmic intensity.

Perdidox
Aurochs
All-Set Editions (all-set.org)

Aurochs is an improvising group consisting of Ali Berkok (piano), Pete Johnston (bass), Jake Oelrichs (drums) and Mike Smith (live signal processing electronics) with a monthly Friday night residency at the Tranzac club in Toronto. Perdidox contains two longer improvisations, Grammar Architect and Perfect Future, which the group describes as “long slow atmospheric disturbances.” These works contain many elements including minimalism, jazz, funk, pointillism and general avant-garde mayhem. The addition of Smith’s electronics to the classic jazz trio instrumentation creates sounds that are repeated with delay, reverb and other treatments that blur distinctions between what is live and what is sampled and regenerated.

Both works have a strong rhythmic impulse for most of their span which drives the narrative forward. Grammar Architect maintains a sustained and funky forward momentum with many tasty riffs from Oelrichs, from shuffle to hypnotically off-centre snare, which plays off Johnston’s juicy bass sound. Perfect Future has a great break around the seven-minute mark where a simple bass riff is sampled and looped but most of the bass timbre has been taken away. The other players drop away and allow this riff to create a space before the second major section of the work which involves much tapping and scratching of instruments. The final portion contains many piano interjections that mix some Romantic elements with angular modernist riffs; towards the end, the drums and bass find a jazzy marching groove.

Perdidox is being released on SoundCloud which is becoming common in this age of multiple streaming platforms.

amplified clarinet & trumpet, guitars, nimb
Sound of the Mountain with Tetuzi Akiyama and Toshimaru Nakamura
Mystery & Wonder MW008 (mwrecs.com)

Sound of the Mountain is the duo of clarinetist Elizabeth Millar and trumpeter Craig Pedersen, significant younger figures in the Montreal musique actuelle community. Their work includes orchestral roles, free jazz and free improvisation. This CD, titled by its instrumentation, comes from a 2017 Tokyo encounter with guitarist Tetuzi Akiyama and Toshimaru Nakamura, who plays “nimb” or no-input mixing board, plugging its output into its input and creating an array of controlled feedback sounds.

There are two improvisations here, identified by the numbers 1 (clocking in at 18:39) and 2 (16:51) and that instrument list. The music proceeds with its own developing form, a collection of shifting sounds, sometimes spacious, like an isolated guitar passage, some gently picked reflective notes, some longitudinally scraped strings, these matched with a few electronic burbles. At other times there’s a crumbling wall of sound: diverse feedback, a delicate clicking of clarinet keys, some lip-smacking kissing sounds from the trumpet.

Such literal description gives nothing of the actual experience of the music, which possesses an inner logic, sometimes jangling, sometimes a reverie in an industrial park. It’s a communion of sounds, linked in an experiential continuum rather than through fixed harmonies and rhythms. Ten minutes into 2, there’s a passage that sounds like a very wise child is gently plucking at a guitar for the first time, a trumpet plays muffled lines and there’s a hive of electronic sound. It’s a moment of perfect multi-dimensional calm.