Street Date 02/07/12
It may seem like Tim Berne has been in the jazz witness protection program. Instead, Berne has been in the development stages of his first studio release in eight years. A powerful yet organically eclectic quartet full of harmonic dynamic tension, varied texture and an intense lyrical flow as evocative as the cover art.
This deceptively simple and organic 4tet is the end result of two years of wood shedding to achieve the more open ended sound Berne desired. A stark musical realism is broken by an intentional desire to have composition over take the free aspect of playing. Berne's intent is to push the music to a creative apex through composition by developing the improvisation from the core of the tune with the desired destination a different place then originally intended through the written work. Simple right? The more open ended approach makes Snakeoil more accessible than previous alternative jazz works. In the press release Berne credits Manfred Eicher's production guidance in tightening the concept which in turn highlights the trademark ebb and flow of an Eicher project as well as this collaborative effort.
Pianist Matt Mitchell creates the shifting dynamic tension of harmonic introspection with the percussive nuances of drummer and percussionist Ches Smith on "Simple City." The punctuated development of "Scanners" and Berne's edgy alto is offset nicely with the rich sound of Oscar Noriega's clarinet. A dynamic rich in contrast and texture for what may be best described as a chamber influenced hard bop 4tet performing a high wire act without a net. The sly if not mysterious ambiance of "Yield" is edgy but strangely accessible. Berne succeeds in moving the music if not the listener to the edge of the free jazz cliff without either falling into the abyss. Oscar Noriega's prodigious talents on clarinet add a rich and often missing voice in what some may refer to as alternative jazz.
While the last thing jazz needs is yet another sub genre to pigeon hole creativity, Berne is charting a very definitive course in the small group jazz idiom. Recently I spoke with bassist Michael Formanek who sums up his relationship with Berne accordingly:
"I love working with Tim for a lot of reasons, primarily though it’s because he takes my music seriously and plays the shit out of it. He’s the best sideman I’ve ever worked with, and puts most of the jazz “sidemen”, myself included, to shame by the dedication he approaches each project with. He also makes me laugh, and likes to drink whiskey."
Snakeoil is subtle in intensity, sly in lyrical development and as harmonically inventive as any release to date. Berne's third release for ECM and first as a leader is arguably his finest. There is a preconceived notion by some that there is an ECM aesthetic behind virtually all releases. Not true. A remarkable collaborative effort finds Tim Berne and Manfred Eicher watering the seeds of the artistic flowers Berne has planted. The free and organic results of Berne's creativity transcend genre and definable labels which would have most critics if not label executives perched on the nearest ledge. Berne and this eclectic and slightly quirky quartet create their own organic pulse allowing for a remarkable journey for those that listen.
5 Stars!
Tracks: Simple City; Scanners; Spare Parts; Yield; Not Sure; Spectacle.
Personnel: Tim Berne: alto saxophone; Oscar Noriega: clarinet, bass clarinet; Matt Mitchell: piano; Ches Smith: drums, percussion.
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