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78094 / Daten zuletzt bearbeitet von: SJO allgemein
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CD:  Thomson Kneeland — Mazurka for a modern Man

Label: Weltschmerz Records
Label-Nummer: 00261 29143

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CD-10972

 
There is a special symbiosis that occurs when a bassist and drummer work together on projects for significant lengths of time. When those musicians are as great as the ones on this record, the results can be wonderful. Mazurka for a Modern Man, in part, is a documentation of such a symbiosis. It’s a wonderful contemporary jazz record, imbued with a shared love for Balkan music, Indian music and other influences.
Thomson Kneeland is a formidable bassist and composer, and he worked with the core of this band regularly for ten years as they developed their own vocabulary and shared creative approach. Kneeland formed a special musical relationship the brilliant drummer/percussionist Take Toriyama, who sadly passed away weeks after these tracks were recorded.
The New England-raised Kneeland has been immersed in music from an early age. He has played in a wide range of contexts and has studied with Jerry Bergonzi, Paul Bley and others. He is deep thinker, versed in the history of jazz double bass. Some of his insightful writings about music can be found on his home page. As a sideman, Kneeland has worked with Kenny Werner, Bergonzi, Chris Potter, Rick Margitza, Gunther Schuller, Paul Bollenback and many others. Now a resident of New York, he is involved in a wide range of projects, from string quartets to solo bass to jazz ensembles..
The band share a love of Balkan music (particularly that of Bulgaria) and “Nebuchadnezzar” reflects that. It uses various Balkan meters (5, 7 and 11) and a Balkan influenced plaintive trumpet melody. Smith also plays a dramatic extended improvised trumpet introduction. The Kopanitsa (Bulgarian rhythm in 11/8 divided 22322) is particularly effecting with chiming guitar chords and bass and drums interacting beautifully. There is a lovely guitar solo before Kneeland takes a turn, developing an intense rhythmic solo.
“Rhapsody (for Take Toriyama)” is a beautiful, knowing rock influenced ballad. David Smith’s trumpet plays the lyrical melody and a yearning solo as the band build beneath him using space and silence to great effect. Kneeland’s bass solo is lyrical and atmospheric and reflects on the melody of the theme. I find it a deeply affecting theme and the power of the melody is enhanced by the writing for guitar which complements the trumpet line extremely effectively.
“Crus Bifurcatus” has a drum and bass influence with a serpentine horn melody and some especially neat bass work. The horns take turns to solo over Toriyama’s effervescent and bubbly drumming later joined by Kneeland’s basswork to create an intense groove. The horns continue to alternate until they combine in collective improvisation over the bubbling groove. The melody returns and then we are led by the guitarist on his own interpretation of the tune, using delay effectively to create a rich sonic tapestry. It’s a great tune to end a record with.
So this is a fine tribute to an extraordinary musician (Take Toriyama), a document of a band who created their own musical vocabulary collectively, a vital jazz record with unique textures and arrangements and a great introduction to composition and bass playing of Thomson Kneeland.