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d i s s i d e n t
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a r t i s t : Jemeel Moondoc Trio
t i t l e : Fire In The Valley 072796
d a t e : 1997
l a b e l : Eremite
g e n r e : Jazz
r l s. d a t e : Mar/2003
t r a c k s : 02
b i t r a t e : 192kbps
s i z e : 56,8 MB
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jemeel moondoc trio
live at fire in the valley
mte-08s
27 july 1996
fire in the valley festival amherst, ma
jemeel moondoc alto saxophone
john voigt bass
laurence cook percussion
1. fire in the valley (39:51)
2. encore (1:28)
the interplay among the three exemplifies a fourth-mind
sensitivity by which the thought processes of the individual
players combine to create an external aesthetic engine that
drives their collective playing into a garden of empathy whose
gates are unlocked by fewer musicians every year. --byron coley
jazziz magazine critics' picks #6 recording 1997.
cadence reviewers' choice top ten recordings 1997.
"Moondoc seemed to bare his very soul with his darting clipped
jumps, plaintive smears, and skirling cries. The three seemed
to be charged particles, simultaneously sparking and surging
with the turbulent crackling energy of a storm cloud."
--michael rosenstein, cadence
"Moondoc's alto restlessly tumbles forth from antic bounces to
r&b drenched Texas honk to piglet squeals to bursts of
tenor-like resonance. High-impact and, often, high-velocity,
the Moondoc trio blazes like a hail of comets." --sam
prestianni, jazziz
AMG:
This 41 minute set, comprised of just two tracks, was recorded
at the 1996 Fire in the Valley Festival in Amherst, MA. Moondoc
and his alto saxophone are accompanied by bassist John Voigt
and percussionist Laurence Cook. The title track, which clocks
in at a mighty 39:51, is where all the meat is. Here is where
the listener gets to witness what the cult around Moondoc is
all about. Unlike many free jazzers who try to blow the guts
out of the horn each and every time they improvise, he digs
deep into the jazz tradition for his material. And while he has
been often compared to Ornette Coleman, it's manily because
they both play the same horn. His tone is more reminiscent of
Jackie McLean's while his playing style comes from the same
place that Charles Tyler's does. There is a quiet insistence
here as Moondoc and company begin their journey through the
hallways of postmodern jazz. Moondoc goes in, around, and
through his rhythm section in search of a song he can hear but
can't quite touch and get to some astonishing places on the
way. It's as if he is coming to a threshold where silence
itself has built a tunnel, and he tiptoes, steps, dances, runs
into, then calls and cries out of once inside. There are
passageways of great power that lead into small, quiet lyrical
rooms of harmonic beauty and grace.
Voigt and Cook are certainly backing players here. They listen
closely and offer an inherently solid force for Moondoc to push
against for momentum. They simmer when he shouts, wail when his
alto sings ù and his playing doessing. Perhaps more than any
other alto player of his generation, he understands the
complexities of melodic invention and how it relates both to
post bop swing and the avant garde's quest for a new syntax in
sonic language. And while the 1:28 skronkfest encore is a
throwaway ù added as documentation of the entire performance ù
it doesn't detract from the beauty, originality and wondrous
group interplay of the longer piece that reveals how
multi-dimensional Moondoc is as both a soloist and bandleader.
ù Thom Jurek
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01-Fire In The Valley [39:52]
02-Encore [01:27]
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41:19 min
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