Anthony Braxton Five Compositions

Christophe Rocher, Joe Fonda, Harvey Sorgen - New Origin (2019) {Not Two Records MW985-2}
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© 2019 Not Two Records | MW985-2
Jazz / Avant-Garde Jazz / Structured Improvisation / Clarinets / Bass / Drums

As the title implies, New Origin represents a fertile coming together, the principals in this case being the veteran American rhythm team of bassist Joe Fonda and drummer Harvey Sorgen, with French clarinetist Christophe Rocher. Fonda and Sorgen share a lengthy association, which encompasses the long-running Fonda/Stevens Group and a trio of more recent vintage with pianist Marilyn Crispell among others. Rocher, a generation younger, has risen on his native scene and also featured alongside the likes of flautist Nicole Mitchell and cornetist Rob Mazurek.

itting squarely in the Rock In Opposition mold, Stop Motion Orchestra is an Austin, Texas-based instrumental chamber rock band orchestrated with sax, violin, guitar, synth-bass, drums, here in their second album bringing a bright and melodic force that reminds of Hamster Theatre, Debile Menthol or L'Ensemble Raye; sophisticated, charming and knowledgeable music.

While solo and duo recordings do not come in all sizes, they indeed have various shapes. Slam Stewart and Don Byas, as the only two musicians to make a nearly snowed-out 1945 Town Hall gig, formed an impromptu, but unquestionably musically satisfying duo (remembered largely for their lickety-split version of “I Got Rhythm”). Jim Hall and Bill Evans are dependably sublime on Undercurrent. Turning to solo work, Evans waxed Alone as a solo pianist, creatively entering a relatively crowded recorded space that also includes contributions from Thelonious Monk (Solo Monk, Alone in San Francisco), Art Tatum’s Piano Starts Here, and Ray Bryant’s Alone With the Blues, not to mention Concord’s voluminous Maybeck Recital Hall series. Solo jazz saxophone recordings, on the other hand, are few and far between, making Eric Alexander’s solo contributions to the recording here all the more unique and important. And although the living master Sonny Rollins recorded in this format (The Solo Concert), contributions here seem most often to coalesce around the avant-garde (Anthony Braxton’s For Alto and Roscoe Mitchell’s Solo Saxophone Concerts).