Eccentric themes, sketchy impressionism, clamorous collective improvisation and splashes of theatricality are the stuff of this long and, on the whole, low key recording.
Needless to say, we are treated to some fine playing; the ear is taken in particular by Holland’s solid, articulate and oft swinging bass (Homecoming and Double Vision), Wheeler’s squirting, spluttering and whirling trumpet (everywhere) and Coleman’s crafty alto (Double). Priester’s presence is not so obvious outside the ensembles, and Smith, while faultless, does not stick his neck out; although he can hardly be missed in duo with Holland on what sounds like coconut shells. (Walk-a-way).
The theatricality is most evident on Gridlock, which begins with street-scene sound effects, including a spoken monologue of the ‘have a nice day’ variety and Coleman’s alto imitating the doppler effect of a passing siren, and then develops into several minutes of free chaos presumably designed to reflect inner-city turmoil, mental and physical. Not a particularly pleasant experience, but enriching, I’m sure. Otherwise, a fair bit to enjoy, even if the music’s abstraction might at times diminish its immediacy.
Discography
Uhren; Homecoming; Perspicuity; Celebration; World Protection Blues (25.47) – Gridlock (Opus 8); Walk-a-way; The Good Doctor; Double Vision (25.21)
Dave Holland (b); Steve Coleman (as/ss/f); Julian Priester (tb); Marvin ‘Smitty’ Smith (d/ pc); Kenny Wheeler (t/c/flh). Recorded Ludwigsburg, November 1984.
(ECM 1292)
