One Great Recording...
Douglas T Martin | Alpharetta, GA USA | 02/12/2001
(4 out of 5 stars)
"Saxophonist Ellery Eskelin has worked in a variety of styles, both traditional and non (emphasis on the 'non'). In addition to many recordings as leader and co-leader, Eskelin has also been the tenor of choice for some of jazz's finest musicians like Mark Helias and Joey Baron (Baron Down). Of all the bands Eskelin has fronted, this trio has the most unique sound. Jim Black, known for his work with Tim Berne, Chris Speed, and his own varied projects, brings his hyperactive drumming to the trio; with his variety of styles and sundry noisemakers he ranks with Joey Baron and Billy Martin as a drummer whose playing is as lyrical as the melody. Andrea Parkins on accordian & sampler gives the trio its most unique sound; the accordian is used like an organ - it doesn't play the polka-esque parts one usually associates with the accordian. Actually, there isn't that much accordian - the sampler has a nice variety of Hammond B-3 and piano sounds that are put to good use on Eskelin's compositions."One Great Day" is the second recording by this trio following their Songlines recording "Jazz Trash". The title track to "One Great Day..." kicks off with a swinging organ trio riff, like something from the Blue Note catalog of the 60's. Then Andrea Parkins' sound changes from Hammond B-3 to sampled accordian to real accordian to piano in the space of a few measures; Eskelin takes a couple of minutes to play some solo saxophone before Black and Parkins return with an off-kilter hurdy-gurdy melody. After that it changes to something else; in the first 8 minutes of the recording, in just the first song, enough themes have been presented to fill an entire recording by anyone else. "Vertical Hold" is a little more straight forward, starting as some chaotic avant-garde exploration for a couple of minutes, then turning into a organ-based riff with some blistering soloing by Eskelin. "T64K37B" and "Too Much Orange" sound like free improv works; then again they sound like something Anthony Braxton might have composed. Actually "Orange" becomes much more structured after four minutes or so when Eskelin begins playing a soulful theme with mournful organ accompaniment; Jim Black's drums gradually pick up the pace until the tune is soaring (excellent sax/drums duet in there). "The Inflated Tear", a famous Rashan Roland Kirk song, is reworked here with accordian accompaniment; a lot of soul, a lot of modern jazz exploration (Jim Black digs deep into his bag of percussive tricks). The recording closes with "Side Effects", a swaggering song where the organ's walking bass line evokes both Mancini and Blue Note. In fact, the whole recording sounds almost like a soundtrack - themes come and go like a series of scenes in a movie.Recommended to those who like their jazz 'out there'. Would greatly appeal to fans of Tim Berne and related artists; might also appeal to fans of John Zorn's cut & paste compositions. The use of the accordian might lead to a comparison to Dave Douglas' Charms of the Night Sky band but believe me - they are two very different groups; this one is for the serious modernist. In addition to being a prolific composer/musician Ellery Eskelin has also written many articles about what to do (and not to do) in the music business as well as a tour diary detailing the trials and tribulations of touring Europe in support of "One Great Day..." and the recording of its follow-up "Kulak 29 & 30". Just search for "Ellery Eskelin tour diary"."
Track Listings (6) - Disc #1