Tim Berne Spiders

When Tim Berne recorded with Snakeoil for ECM in 2012, it marked the debut of a new working band and his first studio album in a decade. With Oscar Noriega on clarinets, pianist Matt Mitchell, and drummer Ches Smith, Berne was able to extend the horizons in his compositions. While conversational intrigue, fiery improvisation, knotty counterpoint, and wildly varying dynamics had long been part of his aesthetic, they found a fluid yet immediate language on 2013's Shadow Man.

American tenor saxophonist Tim Berne joins Umberto Petrin's piano trio for four of the nine tracks on this CD, which features tunes written by the pianist. Petrin launches a broadside in the liners, stating that "avant-garde" and "experimentalism" are no longer relevant terms, but that idea and form should hold sway…

Guitarist-composer David Torn, a longstanding ECM artist, has enjoyed a particularly fruitful 21st-century with the label, releasing two albums under his own name – the solo only sky and quartet disc prezens – in addition to producing records by Tim Berne and Michael Formanek. With Sun of Goldfinger, Torn returns in a trio alongside the alto saxophonist Berne and percussionist Ches Smith (a member of Berne’s Snakeoil band who made his ECM leader debut in 2016 with The Bell). The Torn/Berne/Smith trio, also dubbed Sun of Goldfinger, features alone on two of this album’s three intense tracks of 20-plus minutes; the vast sonic tapestries of “Eye Muddle” and “Soften the Blow” – each spontaneous group compositions – belie the fact that only a trio is weaving them, with live electronics by Torn and Smith expanding the aural envelope.

This octet session, recorded live in the studio in June 1997 but not released until 2011, is a departure for Tim Berne. His 1990s quartet Bloodcount (with clarinetist Chris Speed, bassist Michael Formanek, and drummer Jim Black) is augmented by trumpeter Baikida Carroll, violinist Dominique Pifarély, cellist Erik Friedlander, and acoustic guitarist Marc Ducret. The disc contains only two compositions, the first running over 35 minutes and the latter a shade under 30…

Berne calls this band Caos Totale, and if it doesn't quite achieve that lofty goal, it comes close enough to provide a fine mix of rich, involved compositions and lusty, almost rockish, improvisations. One of Berne's songwriting trademarks has been lengthy pieces (often exceeding 30 minutes) with multiple themes that emerge and disappear in an organic but unpredictable way, and this is clearly on view here. Pieces begin in one place but invariably end in another area entirely, but the ride is quite scenic…