Stephen Gauci/Kirk Knuffke/Ken Filiano - Chasing Tales

Gauci/Knuffke/Filiano

Chasing Tales

Relative Pitch

Stephen Gauci – Tenor saxophone

Kirk Knuffke – Cornet

Ken Filiano – Double bass

I like to pull for the underdog, and I suppose that's why I like to check out what Stephen Gauci is up to from time to time. I'm not sure why I feel that way about him; perhaps it's because he came to music as a profession relatively late in life (I’ve read that his first studio session was at age 35), or perhaps because you don't see his name a lot. 

Gauci has put out some albums on the CIMP label, displaying promise but also falling victim to the drawbacks of the CIMP aesthetic: A seeming lack of preparation and a tendency to let ideas run past the point of diminishing returns. But he was impressive on 2010’s SKM (Clean Feed) with Kris Davis and Michael Bisio, and now he’s part of another drummer-less trio on Chasing Tales. 

Six of the tracks are completely improvised, while Gauci contributes three compositions, and Knuffke and Filiano one each. The composed tracks have interesting arrangements and are crisply executed, with enough air in them to encourage dialog between the players. It’s a tribute to the group that the quality is consistent across all the tracks, whether composed or improvised.

Gauchi has sometimes come across as tentative to these ears, perhaps thinking a little too much, but he sounds confident and in control here, more fluid than I’ve ever heard him. Knuffke is so consistent; I sang his praises on Max Johnson’s The Invisible Trio, and he delivers here as well. Like Gauci, he doesn't feel the need to use a lot of extended techniques to make his point.

A few years ago I was on the fence about Ken Filiano, but he seems to get better and better. I still think Dreams from a Clown Car (Clean Feed) was criminally overlooked, and he's the glue for this record, whether walking under the other two players with a full, rich tone, adding his commentary, or playing unison phrases.

This album makes me smile, and who can't use a little of that in their lives? Great spirit, great interaction, mutual respect. It's the little record that could.

Ideal Bread - Beating the Teens

Ideal Bread

Beating the Teens

Cuneiform Records

Josh Sinton – Baritone Saxophone
Kirk Knuffke – Cornet
Adam Hopkins – Bass
Tomas Fujiwara – Drums

 
“Like a baker makes his bread, I make music...If I make the same bread tomorrow, that bores me...I have to remake it, I have to do better...I’m always looking for...the ideal bread.” – Steve Lacy

Beating The Teens is Ideal Bread’s track – by – track interpretation (Josh Sinton calls them "recompositions") of the Steve Lacy set Scratching The Seventies that appeared on the French Saravah label. The songs are presented in a different order than the original, and the 3-CD set has been compacted to two discs, with most tracks clocking in at under five minutes. 

Scratching the Seventies comprised five different albums and several different groupings of musicians, including solo works, so the fact that one group is playing this music makes the presentation more homogeneous on one level. But the instrumentation of the group and their original approach to the arrangements take the material in a whole new direction. 

Lacy frequently incorporated texts into his music, either overtly or as inspiration, and this speech-like quality is brought out on Teens; it’s like listening in on a conversation between four old friends, with arguments, laughter and passionate debate. 

Josh Sinton has matured as a player since their prior release, Transmit, gaining expressiveness and facility on his horn. Kirk Knuffke is the perfect trumpeter for this project, quirky and original, yet still letting Lacy’s voice and style come through. The rhythm team of Adam Hopkins, replacing Reuben Radding, and Tomas Fujiwara contribute their voices as well, and even lock into grooves at times, something else that sets this apart from most of what I know of Lacy’s music. 

Beating the Teens plays like a jazz concept album. It’s not about the individual solos, or even the individual songs, but the gestalt of the whole set. With this album, Ideal Bread has taken a big step forward in developing a distinct voice and a distinct take on the music of Steve Lacy.



Note: In the interests of full disclosure, I contributed to the Kickstarter campaign that helped fund this release.

Max Johnson Trio - The Invisible Trio

Max Johnson Trio

The Invisible Trio

Fresh Sounds Records

Kirk Knuffke - Cornet
Max Johnson - Bass
Ziv Ravitz - Drums

The Invisible Trio is the second release I’m aware of by this group, following 2012’s Elevated Vegetation. I’m not sure if the title is a wry commentary on the commercial prospects of the group, but Trio hopefully will go some distance towards correcting any injustice in visibility.

I like how the group lets the music unfold organically, somewhat like Other Dimensions in Music used to do, although the structure is compositionally-based, all from the pen of Johnson. There’s an appealing openness and looseness to the sound, and when things get uptempo I’m reminded of Ornette’s classic quartet (without the alto, of course) in the way the bass and drums propel things forward.

Kirk Knuffke eschews extended techniques for the most part, but doesn’t need them to express himself fully. He has an unhurried approach that suits the vibe of the group, and is an expressive improviser. Johnson’s technique is flawless, whether playing arco or pizzicato. In addition to Haden, I can also hear a little David Izenzon in his sound. Ravitz carries on a nice conversation with the other trio members with some well-placed commentary, and can turn up the heat when required.

There’s a sense that every note, every accent, counts on this record, and the excellent recording quality picks up every nuance. This unassuming album worms its way into your heart, and it’s one you’ll want to return to frequently.

You can get The Invisible Trio as a download or CD from Max Johnson’s Bandcamp site. Here's a performance clip from their appearance at Barbes in Brooklyn from early 2012: