As an alto saxophonist, Tim Berne is a highly focused and radical melodist in a tradition that includes Ornette Coleman and Julius Hemphill. He has a big personal sound and a rhythmic snap that can insert a taste of calyps... more »o in the midst of chaos. As a composer, Berne can put together elements in unlikely ways, mixing strong melody with thick, dark, group textures. On this 1986 recording, he leads a quartet with Bill Frisell on guitar, Hank Roberts on cello, and Alex Cline on percussion. Together, they create a heady brew mixing jazz motifs with some electronic backdrops that range from the ethereally beautiful to walls of noise. Roberts and Frisell are an explosive combination, often throwing off thickets of sustained musical data. The group has a sound of its own, and it bridges approaches, from the rapid-fire update of bop on "Miniature" to the keening processional theme of "Betty." --Stuart Broomer« less
As an alto saxophonist, Tim Berne is a highly focused and radical melodist in a tradition that includes Ornette Coleman and Julius Hemphill. He has a big personal sound and a rhythmic snap that can insert a taste of calypso in the midst of chaos. As a composer, Berne can put together elements in unlikely ways, mixing strong melody with thick, dark, group textures. On this 1986 recording, he leads a quartet with Bill Frisell on guitar, Hank Roberts on cello, and Alex Cline on percussion. Together, they create a heady brew mixing jazz motifs with some electronic backdrops that range from the ethereally beautiful to walls of noise. Roberts and Frisell are an explosive combination, often throwing off thickets of sustained musical data. The group has a sound of its own, and it bridges approaches, from the rapid-fire update of bop on "Miniature" to the keening processional theme of "Betty." --Stuart Broomer
CD Reviews
Furious music.
Douglas T Martin | Alpharetta, GA USA | 12/05/2000
(5 out of 5 stars)
"This recording gets up in your face from the beginning and never backs down. Bill Frisell sprays more sonic shrapnel on this recording than he ever did with Naked City; Hank Roberts plays like he was trying to saw his cello in half with the bow while Alex Cline drives the music along with devastating drumming. This was Tim Berne's first recording for Columbia Records; I'll bet they never expected this when they signed him. A little too hardcore to be a good introduction to Tim Berne's music but still recommended to fans of Berne and Frisell."
Beautiful but Violent
Douglas T Martin | 03/22/2000
(5 out of 5 stars)
"This Tim Berne session pulls musicians from Bill Frisell's late eighties group including cellist Hank Roberts. Frisell is in awesome, providing some of his greatest sonic explorations, and as always, mixing beautifully with Roberts' cello. Tim Berne manages to work in quite well, though this music will seem pretty dense and chaotic to some."
Not bad, but Berne has better albums.
T. Klaase | Orange Park, Florida United States | 06/27/2003
(3 out of 5 stars)
"With the line up I really had high expectations. If you're new to Tim Berne I highly recommend starting out with "Fractured Fairy Tales," or "The Shell Game." If you can find "Science Friction" - that's a great release too ...Also be on the look out for the winter & winter release called Big Satan featuring Berne, Marc Ducret, and Tom Rainey. Now go out there and buy some CD's!!!"
A magical collaboration between Bill Frissell and Berne
J. Cohen | Long Island, New York USA | 08/11/2006
(5 out of 5 stars)
"I bought the vinyl back in 1986 when the Village Voice went bats___t over it. Power and atmosphere from Frissell and post-bop compositions from Berne make this record a winner. It's great even after the opener!
I haven't bought the CD yet but I continue to remember it well from 20 years back!!"
Track Listings (5) - Disc #1