Search - Andrew Drury :: A Momentary Lapse

There's not a lot to add to Greg Taylor's fine review . . .

Jan P. Dennis | Monument, CO USA | 10/20/2003

(5 out of 5 stars)

". . . except to say that I've encountered Eyvind Kang at least twice before (once as a sideman for Bill Frizell, and once with his wholly unique solo disc, The Sweetness of Sickness, certainly one of the strangest cd's ever recorded), Briggan Krauss numerous times (not least with that brash NY Downtown band, Sex Mob), and that I also own Andrew Drury's remarkable first outing, Polish Theater Posters.I agree that there's some marvelous ensemble playing, but I disagree about who will be able to appreciate this. My view is that only very open eared jazz fans will be able to identify and track with its vibe, which is a combination of free improv, chamber jazz, and some kind of unique Andrew Drury program-type music, albeit with his own visionary take.Make no mistake, however; this music contains some of the very top contemporary jazz improvisors, including Myra Melford on piano, Mark Dresser on bass, and Chris Speed on sax and clarbone (?). Together, with meaty compositions to sink their collective teeth into, they create a dense and enigmatic sound signature, that, although weighty, still dances and cavorts with ease. The opening three minutes of "Vaxjo Kollective" brilliantly demonstrate this extreemly nimble vitruosity set in the context of chamber jazz gone wild, including very tricky fugal passages interspersed with killer post-bop ensemble playing, featuring Myra Melford's neo-Pullen pianistics. It must literally be heard to be believed. Certainly one of the most virtuostic jazz pieces ever recorded, it remains, despite its wild expressionism, almost completely accessible. An altogether amazing music feat, not to be missed by anyone who has even the slightest soft spot for nu jazz played at the very highest levels."

Experimental goth-jazz is what I call it

Horst Meisterfluscher | 11/15/2004

(5 out of 5 stars)

"Take a track like COPALIS. How would you describe this thing? It obviously doesn't swing. It broods. It's introspective chamber music along the lines of Bartok and Hindemith. It's also spooky in a highly original way. It's gothadelic, fer pete's sake. But it's simultaneously humoristical when they're playing those unison lines.



Myra Medford is fairly well-known and her virtuosity came as no surprise. Eyvind Kang's violinistics are familiar to me from one of Aiko Shimada's records. Bassist Mark Dresser has a fine grasp of note-bending ambience.



Jazz needs composers. Not improvisers. And Drury has taken a giant step in the right direction."

Great ensemble- even better compositions.

greg taylor | Portland, Oregon United States | 07/21/2003

(5 out of 5 stars)

"Sometimes, when I am lucky, what attracts me to buy a CD turns out not to be the strongest aspect of the music. What led me to buy this sophomore effort by Andrew Drury was the ensemble personnel: Eyvind Kang on violin, Briggan Krauss on alto sax and the clarbone (I have no idea what that is), Chris Speed on tenor and clarinet, Myra Melford on piano, Mark Dresser on the upright bass join Mr. Drury on the drums.
What struck me from practically the opening notes of The Schwartzes, however, was the beauty and originality of the compositions. These pieces feature long developing melody statements from which arise one, maybe two solos and then another long ensemble chart.
The ensemble work is wonderful. Counterpoint abounds as do counterpoised rhythms by the different voices. Sometimes you feel as if you are listening to what early Mingus or maybe Oliver Nelson would sound like these days. Other times it feels like it is about to evolve into a piece of spiritual jazz a la late classic Coltrane quartet. Sometimes it all sounds very modern classical. What makes it memorable is that it all develops out of a unified compositional vision; it never seems like a pastiche.
The playing by all is up to the compositions. Eyvind Kang and Briggan Krauss are new to me. They both sound wonderful. Krauss has a nice growly tone and a flowing aggressive soloing style. Chris Speed sounds better on this CD than on anything else I have heard him play on. I need to go back and listen to his CDs again. Mark Dresser plays here with beautiful tone and solid time. Drury takes only one solo and plays only the cymbals on that and his architectural sense shines thru even on that. Myra Melford is the major revelation to me. I do not recall hearing her play in a group this size before. She plays with wonderful touch, occasionally unleashing clusters of tones but mostly sounding like some wonderful and original update on a lot of Blue Note pianists. I understand that she studied with Don Pullen. It shows in her ability to play inside/ outside. But she has definitely developed her own voice. To play like this she must walk in beauty.
Overall, this CD strikes me as being comparable to the work of Tom Varner or Henry Threadgill. They all have their own vision but are similar in quality and in how successfully this recording realizes that individual's vision.
This is wonderful music that should not be considered only by jazz fans. This stuff should appeal to any open-eared afficianado of contemporary classical or even rock."