Ted Daniel's Energy Module, Interconnection, 1975, 2-CDs

Trumpetmaster avant jazz composer and leader Ted Daniel does not always get the attention he deserves. Perhaps his best known affiliation was with Dewey Redman. He appeared on Dewey's Ear of the Behearer and Coincide (Impulse) and was very crucial to the outcome of those sessions. Yet of course there has been much more.

An example of a very together small group that only existed through two gigs, Ted Daniel's Energy Module, is now available for us to hear in the freewheeling, exciting 2-CD set Interconnection (No Business CD 72-73) which was recorded live at Sunrise Studios in Manhattan in 1975.

It was a group that functioned together as part of Daniel's big band Energy. Yet this quintet was more oriented towards the full-out freedom of the big-arc improvisational approaches then flourishing among the giants of the Loft Scene. The band is exceptional and well-spoken in the presences of Ted on trumpet, flugel, etc., Daniel Carter on tenor, Oliver Lake on alto, soprano, flute, etc., Richard Pierce on bass and Tatsuya Nakamura on drums.

This is a richly energized blowing date all the way. The repertoire serves effectively to launch the improvising. It has some new thing staples in Sunny Murray's "Jiblet," Ayler's "Ghosts," Ornette's "Congeniality," plus Dewey Redman's "Interconnection," and three originals by Daniel: "The Probe," "Entering," and "Pagan Spain."

The recording is quite clear and decent, the performances inspired. Pierce and Nakamura lay out thick washes of rhythm section energy while Daniel, Carter and Lake make definitive statements both together and in individual solos.

There is nothing one-off sounding about this music. They give it their all and have a dynamic presence that belies their short official existence as a unit.

Highly recommended. Essential.

Trio 3 & Vijay Ayer, Wiring, with Oliver Lake, Reggie Workman, Andrew Cyrille

There are master jazzmen, avant or otherwise, who as they mature gain a depth to every note they sound, just about, and an impeccable feel to whatever they do. Such a three are certainly Oliver Lake (alto sax), Reggie Workman (bass) and Andrew Cyrille (drums). Their incorporation as Trio 3 is more than just a great idea, it is a band with a certain monumentality about it. Each excels as a master of their instrument; each has a musical sensibility that years of open playing have made possible--but of course only with the work of titans such as these. And each works together to get an interplay far above "avant business as usual."

So when they team up with a guest who is younger yet most definitely on the track to an open profundity, expect some real kinetic synergy. Such is the case with the teaming of pianist Vijay Iyer and Trio 3 on the album Wiring (Intakt 233).

There are compositions by all and one by the very undersung Curtis Clark. A high point is Vijay's "Suite for Trayvon (and Thousands More)," which underscores the series of brutal and very questionable shootings of Afro-Americans by those in law enforcement made only too real this past week by a "no indictment" decision in another case. A sense of outrage is put into music. And I hope it will help the collectivity out there come to grips with the facts and demand reforms. Period....Question mark.

But this album lays it all out to give us great playing from start to finish. Iyer fits right in and they get from the quartet a classic sort of freedom of expression that has in it the essence of the very best from times past. Trio 3 were a part of those earlier days, an important part, so it does not surprise. It confirms.

Yet one cannot predict what a meeting such as this will bring about. Iyer and the three hit it off strikingly well. They make a set that ANYONE with an interest in the new jazz should hear. Something of an instant masterpiece is what this is. Only of course to make music of this depth and power takes the collective work and experience of many years!

Don't miss it!

Creative Music Studio (CMS) Kicks Off Its Archive Series with A Fine First Volume

Woodstock's Creative Music Studios was a seminal force in new music education, founded by Karl Berger, Ornette Coleman and Ingrid Sertso in 1971. During its tenure in the '70s-'80s it held some excellent concerts, and apparently most if not all were recorded.

We are fortunate that the CMS Archive Project plans to release many of these in an ongoing series, the first volume of which is now available. It is an auspicious beginning.

The first volume concentrates on three ensembles of a contrasting sort. First up is a rare set by acclaimed Ornette bassist David Izenzon, who didn't do much (that I am aware of) as a leader in terms of recordings. He joins with Ms. Serto on vocals and Mr. Berger on piano in an interesting series of chamber pieces.

Next up is Oliver Lake with the CMS Orchestra in 1976 and 1979. The soloists are Mr. Lake, James Harvey on trombone, and Michael Gregory on guitar. It's excellent and quite rare and it's great to hear the soloists interact with the orchestra. One only wishes there was more of it. Perhaps there will be.

The final segment is a very lively set by kora master Foday Susa along with Hamid Drake on drums, John Marsh, e-bass, and Adam Rudolph percussion. This is the Mandingo Griot Society, a superb fusion of West African and contemporary American rhythmic and melodic concepts. The three cuts show Suso and company taking no prisoners. This is the band live and they are supercharged! It's an excellent set and supplements their somewhat less exuberant but no less excellent recordings.

The disk has much to like about it. I recommend it wholeheartedly. No doubt there are more such gems in store and I wish the project all success. For more information on the series and how you can become a subscriber go to www.creativemusicstudio.org.