Search - Change of Time :: Change of Time

May come to be seen as a classic of jazz (improvised music).

Ian Muldoon | Coffs Harbour, NSW Australia | 02/10/2003

(5 out of 5 stars)

"This program of music achieves the perfect balance between individual expression and the constraints of form. There is always in jazz, as in life, a tension between the desire to express individuality and the constraints imposed by form (like marriage!) and the need to connect with another, in music's case, the listener. In jazz, we find a solo by Mr Barney Bigard of immense invention, power and passion expressed in a minute, as we do in a solo by Mr Charles Parker expressed in three. But then we hear Mr Coltrane and 20 choruses of My Favourite Things ( cf, 23.55m on LIVE TRANE Volume 3 of the EUROPEAN TOURS on Pablo). The ability of Mr Coltrane to hold our interest attests to his genius and his willingness to explore other forms, such as the raga. Because such qualities are rare in any artist , musicians submit themselves to the arrangements or writing which constrains individuality but does not eliminate it, indeed may place upon the artist a discipline that concentrates thinking and produces work all the more striking. Humility plays a part in this, the submission of one's ego to the work itself. I'm sure some of Mr Johnny Coles' greatest work was within the writing of Mr Gil Evans. And Mr Edward Ellington created a brilliant sound stage of arrangements and compositions within the added discipline of three minutes, in which some of the music's greatest talents expressed themselves.
On CHANGE OF TIME three artists - Mr Russ Lossing, pianist, Mr Adam Kolker, reeds, and Mr John Hebert, bass - limit themselves mainly to pieces between two and five minutes. Nine pieces are inspired by the music of Bartok and six are by the musicians themselves. In each work the musicians have something to say, say it (with intelligence, passion and conviction) and then depart. The work is the thing.
For example SYMMETRICS (1) inspired by a Bartok work has a hestitant, searching quality but also exemplifies the sheer beauty of sound of piano (cf, Bill Evans piano work on DETOUR AHEAD Volume 6 of The Complete Riverside Bill Evans) and bass clarinet. Again, the piano under Mr Lossing, the richest of all instruments, is an interesting focus for the musicianship evident by this trio - sometimes he makes the piano sound bell like, sometimes intensely melodic, and sometimes he explores its percussive possibilities but always he shows a highly developed appreciation of its sound with a masterly touch and sure sense of structure. Indeed, the glory of the sound is noteworthy on this CD. All musicians here relish the beauty of the sound of their instruments and much of the sensual pleasure of this programme comes from the beauty of sound of the instruments - just note the duo between bass and bass clarinet on track 13. From the very opening and the barely audible sound of a piano's string being apparently stroked and the exploratory notes of the bass this music grips. Full credit to engineer artist Jon Rosenberg. Especially relevant to owners of quality high fidelity equipment. This is music to live with for life."