The Rub and SPare Change

Seems bass players are finally getting their due recognition as bandleaders, composers and innovators. I’ve even attended jazz gigs where the talking stops for the bass solo! Two recent releases, from inventive heavyweights Michael Formanek and Chris Lightcap, should prompt critics and all listeners to stop and reflect on the glories of modern jazz. And modern bassists. 

Michael Formanek, The Rub and Spare Change (2010, ECM)

I guess you have to be intrigued by a musician whose url is “amibotheringyou.com.” Or who has played or recorded with Tony Williams’ Lifetime, the Mingus Big Band and Tim Berne’s Blood Count, as well as with Elvis Costello, Freddie Hubbard, Stan Getz, Chet Baker, George Coleman, and Gunther Schuller. Bassist Michael Formanek, in a career spanning over 30 years, has built a reputation as an innovative composer as well as eclectic performer, but most often as a sideman. Now his ECM debut (and first release as leader in over a decade) moves Formanek far ahead of the pack, in the stellar company of his new quartet of Tim Berne, Craig Taborn and Gerald Cleaver—all among the most lauded creators of modern music. In August 2008, Formanek brought the group together for a gig at The Stone in Manhattan, and quickly recognized that their music should be recorded. If the quartet is a new assemblage, the collaborations are not, as these artists have all worked together for years in one format or another. Formanek composed all the music for The Rub, which runs the gamut from gentle melodic probings to all-out assaults on rhythm and harmony—usually within single compositions.  

Taborn’s tinkling ostinato (“23” notes) opens and permeates the first segment of “Twenty-three Neo,” while Berne and Formanek, octaves apart, sound a Middle-Eastern tinged reverie. After Taborn weaves delicate lines of ice crystals, the quartet morphs into the “Neo” segment, the pianist's more insistent vamp laying the foundation for a buzzier Berne and long arco tones from Formanek. The first part of the title track (“The Rub”) could be a tribute to Thelonious Monk or Formanek’s muse, Charles Mingus, with its jagged rhythms, dissonant harmonies and pulsating percussion, while Taborn’s ethereal inventions sweep through “Spare Change,” rising atop low sighs from Berne that echo Formanek’s accents; Cleaver maintains nonstop rumbles. The bassist introduces his “Inside the Box” in tandem with Berne, all pushing ahead with an oddly boppish, swinging feel. Berne takes the helm over Taborn’s increasing assertions, the pianist ultimately taking off as if in hot pursuit of Cecil Taylor with seething splashes from Cleaver close behind. “Jack’s Last Call” is a piano trio track highlighting the melodic inventions of Taborn alone and in loose collaboration with Formanek, Cleaver supporting via hand drumming and cymbal tinging. Faster and freer by the minute, Taborn turns this into a cascading tour de force demonstrating the avant possibilities of acoustic piano. 

Michael Formanek Quartet (L-R, Gerald Cleaver, Craig Taborn, Formanek, Tim Berne)©Valerie Trucchia

“Too Big to Fail” starts with Berne’s deep alto complaining over incessant resistance from Taborn. There’s a slippery up-and-down motion interrupted by more dissonant arguments, bass and drums lending an undertow of tension—fitting given the reference to the Wall Street crisis. Taborn may have saved his most free-flailing antics for this finale, taking action from one end of the keyboard to the other while Formanek and Cleaver pump iron in support, Berne returning with final sage suggestions. 

Throughout, Formanek tends to take a supporting role, putting the spotlight largely on the interaction between Berne and Taborn, leaving himself and Cleaver as the “straight men” in a collaboration that nevertheless sparkles with a subtle balance between form and freedom. On many “best of the year” lists, including mine. 

Chris Lightcap’s Big Mouth, Deluxe (2010, Clean Feed)

Deluxe

This is the second recording for the quintet Big Mouth, which currently includes tenormen Tony Malaby and Chris Cheek, in addition to Taborn (on Wurlitzer and acoustic piano) and Cleaver, with Andrew D’Angelo adding alto sax on three tracks. Taborn creates a bubbling electric ambience on the opening “Platform,” a rolling mid- to up-tempo piece spirited outward by Cleaver’s shiny washes and funky pulse, while the saxes bring some boppish phrasing and Eastern-touched harmonies. D’Angelo joins in to expand the harmonies on “Silvertone,” but it’s the interaction among the rhythm section that grabs attention early on. Lightcap in particular provides a country blues feel that propels a glorious solo from one of the tenors before the bassist takes his own melodic turn. The final segment includes a triumphant explosion from the saxophone choir. 

Chris Lightcap©Andrea Canter

“Deluxe Version” is perhaps the most melodic and orchestral track of all, the two tenors deep and throaty, the Wurlitzer lyrical and soothing, bass and drums directing time and interjecting some surprising jabs to keep ears perked. Taborn’s solo at the midpoint has a carefree swing that easily folds into Lightcap’s solo break, setting up another glorious charge from the tenors. The closing “Fuzz” brings back D’Angelo and highlights the driving propulsion of the bass/drum team. The saxes break loose from their laid-back harmonizing to conjure a flock of birds hell-bent on their migratory journey. As with the rest of Deluxe, you can never take the music for granted – calm and alluring waters can turn to whirlpool or riptide in the blink of your ear. 

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