Actions

Arranged and conducted by Mats Gustafsson, Fire! Orchestra present a new reading of Krzysztof Pendereckis Actions for Free Jazz Orchestra. The works 1971 debut was performed by Don Cherrys New Eternal Rhythm Orchestra. Assembled by the trumpeter (who did not perform) it was conducted by its composer. The original orchestra consisted of 14 musicians: among them Kenny Wheeler, Peter Brotzmann, Thomasz Stanko, Terje Rypdal, and Han Bennink. Penderecki had heard the Globe Unity Orchestra a few years previously and was enthralled with the possibilities of working with musicians whose backgrounds and cultural perspectives differed from those in the classical world. Fire! Orchestras recording on Rune Grammofon is the only known interpretation of Pendereckis work. The chief creative challenge was to apply correct balance between composition and improvisation. Gustafsson and Fire! Orchestra place this classic piece in a new contemporary setting, with a bigger ensemble and a new sonic approach. Gustafssons performance score is graphically visualized by Kim Hiorthoys adaption on the sleeve. The assembled players here include three saxophones, three trumpets, tuba, trombone, flute, bass clarinet, Hammond B-3 organ, drums (Andreas Werliin), guitar (Reine Fiske), and two bassists in Torbjorn Zetterberg (electric) and Elsa Bergman (upright). The instrumentation is almost identical to the 1971 groups, though a tuba replaces one of the trombones and Celine Grangeys innovative live sound mix. The lone composition is 41-minutes long, lengthier almost by half than its predecessor. Fire! Orchestras lineup is unique here: Founding members/singers Mariam Wallentin and Sofia Jernberg are absent for the first time, while the ubiquitous Fiske makes his debut appearance with Fire! Gustafssons use of Pendereckis motifs and themes are parceled out, elongated in most cases, and set in expansive harmonies. The charts weave (seemingly alchemically) elements of blues, film music, progressive big-band jazz, ceremonial music, and improvisation. Sections will play elongated lines together as various players drop out or are added by improvising along. Dynamics are stretched to their limits and time becomes elastic while the bands expression remains remarkably tonal -- even in very dissonant sections -- with a remarkable awareness of rhythmic pulse. Actions changes constantly. The first half favors the ensemble over soloists, playing set lines, with adornments and symmetrical exchanges along the works spine. At the halfway point, Pendereckis love of serial music is woven through Gustafssons presentation as brass and reeds explore the higher registers of their instruments in harmonies and drones before the individuals develop their own improv statements dynamically. The interplay of the two bassists creates a baseline for the organ and horn to encounter one another, at first warily and then in aggressive exchange. As it moves to a close, individual statements become more frantic, but are more tightly controlled within the piece itself. Layers upon layers of alternating scales from the horns follow this trajectory until the guitar erupts in fractured chords and vamps, shepherding the brass and reeds into a series of spacious and energetic cacophonies. Actions is essential, bracing, modern orchestral jazz. ~ Thom Jurek

怪物マッツ・グスタフソン率いるトリオFire!を核に形成されるフリージャズ・オーケストラ、前作より1年を待たずに届いた新作はポーランドの作曲家クシシュトフ・ペンデレツキ(これを記している最中に訃報が届いた…R.I.P.)による、その名も《Actions for Free Jazz Orchestra》を演奏、ドン・チェリーがペーター・ブロッツマンらを率いて演奏した録音で知られるこの楽曲、統制された自由という二律背反をソウルフルなヴォーカルをフロントに洪水の如き演奏を特徴とするこのオーケストラが再演すること、彼らの新たな一面を解放する一手となるに違いない。
intoxicate (C)片切真吾