The Resonance Ensemble's music has advanced Vandermark's composing methods for large groups, work that started with the early music of Peter Brötzmann's Chicago Tentet, and then continued with his Territory Bands. Much of the new material combines his interest in “suite forms” (perhaps most influenced by Duke Ellington and Charles Mingus) and a collaging approach to improvising structures that he began with the Territory Band.
The Resonance Ensemble
Kafka in Flight
Label: NotTwo, 2011
Catalogue No: MW 860-2
Format: CD
Tracks:
1. The Pier (for Yutaka Takanashi)
2. Rope (for Don Ellis)
3. Coal Marker (for Chris Marker)
All compositions by Ken Vandermark (Twenty First Mobile Music/ASCAP).
Recorded:
in concert at the Philharmonic Hall, Gdansk, Poland, on October 31, 2009 . Mixed by Bob Weston and Ken Vandermark at Chicago Mastering Service.
Line-up:
Magnus Broo - trumpet (Stockholm)
Michael Zerang - drums (Chicago)
Ken Vandermark - tenor saxophone, Bb clarinet (Chicago)
Mikolaj Trzaska - alto saxophone, bass clarinet (Gdansk)
Mark Tokar - bass (Kiev)
Steve Swell - trombone (New York)
Dave Rempis - alto & tenor saxophones (Chicago)
Per-Âke Holmlander - tuba (Stockholm)
Tim Daisy - drums (Chicago)
Waclaw Zimpel - Bb & bass clarinet, taragato (Warsaw)
About:
The Resonance Ensemble's music has advanced Vandermark's composing methods for large groups, work that started with the early music of Peter Brötzmann's Chicago Tentet, and then continued with his Territory Bands. Much of the new material combines his interest in “suite forms” (perhaps most influenced by Duke Ellington and Charles Mingus) and a collaging approach to improvising structures that he began with the Territory Band. The project provided Vandermark with the first opportunity in his career to do nothing but compose for a week. In September of 2009, he began a new approach to writing for the project, a series of “modular pieces,” which can be reassembled for each performance, giving added spontaneity to both the improvising and the compositional structure. The results of these new compositional strategies, coupled with a 10 day European tour, has resulted in the newest album by the band, "Kafka In Flight," which was recorded live in Gdansk, Poland, and is also part of the Not Two catalog.
Note from Ken Vandermark:
The first album I bought as a kid, with my own money was a Woody Herman album featuring his Thundering Herds from the 1945-47 period; where they played charts like “Woodchopper’s Ball,” ‘Apple Honey” “The Good Earth,” “Wild Root,” and “Four Brothers.” Though I didnt know it at the time, this was a document of a big band in transition, moving from the Swing era towards BeBop (with the help of people like Dizzy Gillespie, who wrote arrangements for the band in 1942). I grew up with the records of Duke Ellington, Gil Evans & Miles Davis, and Count Basic playing on my father’s stereo. I’m not sure if this is the reason why I am so attached to writing for larger ensembles, or if it’s just that composing for bigger groups is such a phenomenal experience; maybe it’s a bit of both. But the end result is the same— for me, there is something permanently important and interesting about composing for, and working with, a large group.
The first chance I had to really write for a big ensemble was given to me by Peter Brotzmann, for the initial version of his Chicago Tentet. The piece was called, “Other Brothers,” a nod to Jimmy Giuffre’s famous composition for Woody Herman’s Thundering Herd, “Four Brothers,” and an acknowledgement of the saxophone lineup in the band at that time: Peter Brotzmann, Mats Gustafsson, Mars Williams, myself. That was in 1997. Since then, I’ve continued to try and find more opportunities to keep writing for larger groups. The Territory Bands I put together throughout the start of this century were the first chances I had to organize my own ensembles of this type. There were two “one off “Chicago orchestras during this period as well— the Crisis Ensemble, which played at the 2003 Chicago Jazz Festival; and the Index Orkest, which played at the second anniversary of the Immediate Sound Series at the Hideout in Chicago during April of 2008 (another nod, this time to the Ex Orkest).
My next chance to write for an extended group came at the instigation of Marek Winiarski, of Not Two records. The first work we did on this project was released on the “Live in Lviv” LP, (released in 2008) and the “Resonance Box Set.” (released in 2009). One of the primary issues facing any band that deals with written material is having enough time to rehearse. In a larger ensemble this problem is compounded many times over. With the Territory Bands, and the Chicago groups mentioned above, it was possible to rehearse for several days due to MacArthur financing (in the case of the Territory Band) or the close proximity of the musicians involved (in the case of the Chicago based groups). The first music performed by the Resonance Ensemble in 2007 was possible because we had five days of rehearsals in Krakow before our initial concert together in Lviv, Ukraine. On the second occasion, before the European tour in 2009 when this album was recorded, there were only two days of rehearsal before the first show; and one of them was lost because almost half the band got stuck in transit (Tun Daisy, Per-Ake Holmlander, Steve Swell, and Mikolaj Trzaska, performed last on a bill of the opening night of concerts in Krakow at Alchemia, making it just in time to go on stage. Mikolaj formed a group out of this quartet because the music went so well that night, called Inner Ear, which went on tour in Poland a year later. Maybe that lineup is a bit cursed— half of the band showed up too late to play on the opening night of its December tour— Tim and Steve were stuck in transit again, this time for 13 hours at the Munich airport due to snow…).
So, like the Woody Herman album mentioned above, this recording documents the sound of a group in transition. The near lack of rehearsal time meant that my original approach to writing for the Resonance Ensemble, which was fairly complex and an extension of the work that I had done with the Territory Bands, needed to be thrown out the window. To solve time constraint problem, I developed a modular system of composition— specific thematic material that could be taught quickly, and that could be resequenced and intercut with different predetermined sonic environments and improvisational strategies before each performance; the set list became the tune— different orders of themes, different improvisers creating the links to the next areas of development. This kept the music spontaneous and easy to learn. The strategy was extremely successful, throughout the tour it was possible to try different soloists or collectives on different parts of the components at every performance. All of the musicians (what a band!) rose to both the challenge of the music and the insanity of being in a small bus together riding from Poland to Italy to Hungary to Poland to Ukraine to Poland… It was an amazing trip, seven concerts in eleven days by the full ensemble, which culminated with the show in Gdansk, documented on this album. That concert wasn’t definitive, no performance of music based on improvisation ever is, but it was a definite highlight in the Resonance Ensemble’s career so far—more than 600 enthusiastic people in attendance and a standing ovation that followed the conclusion of the music and the tour. When people ask me why Poland has had such a profound impact on my creative career, I think of nights like one in Gdansk— the music, the musicians, the audience, the experience shared. My sincere thanks must go to Marek Winiarski, who, once again, made it all possible.
Ken Vandermark Chicago, January 10, 2011
Reviews:
This is an album I have been waiting for since I read about it on Ken Vandermark's twitter feed a few months ago. The Resonance Ensemble is the brainchild of the great Chicago saxophonist, Ken Vandermark. In the similar vein to Peter Brotzmann's Tentet (which Vandermark is also a member), Resonance embarks on large scale compositions. But where PBT tend to move into the upper stratosphere in theory--Vandermark is keeping things within a linear pattern as far as the tone is concerned. There is a great deal of improvisation happening but its within the melody and rhythm of the writing. Resonance Ensemble was first developed out of a series of concerts and studio sessions that were later recorded in 2008 (Live In Lviv) and then for the 10CD box (Resonance Box). What's remarkable is that as Vandermark states in the notes to this album, because of the size of the band and the various groups they lead and projects they participate in, its difficult to get any rehearsal time before live shows or recording. I don't think any of us would notice or care. Why you ask? Because the results are something truly unbelievable. For the group's third album Kafka In Flight, recorded live in Poland, Vandermark guides the group with three lengthy pieces of jubilant free form that would make you feel as if Ellington, Coltrane, Cherry, Coleman, Blakey, Chambers (and take the your pick of the rest) had gotten together in your backyard. Kafka In Flight is smokin'. Unlike even Vandermark's main group (The Vandermark 5), Resonance Ensemble seem to enjoy mixing the past in a large bowl and coming up with interesting and riviting concoctions. The opener, "The Pier" is fast moving and allows for moments in which each member can contribute and expound on Vandermark's material. It's a real treasure of ideas that surface. The always incredible Tim Daisy delivers an excellent improvised mid-section, accompanied by a good portion of the horn section and Vandermark on clarinet, explore and exchange some intense possibilities but it works unbelievably well. "Rope" is a bit more cinematic, led by some great performances from Per-Ake Holmlander on tuba (a rare instrument in modern free jazz) and Magnus Broo (trumpet). "Rope" moves from funky to experimental to comforting (so-to-speak) and gives the listener a lot to absorb. Michael Zerang and Tim Daisy are superb as they duel it out with sharp intersecting chant from each of the wind players. "Coal Marker" rounds out this hour long journey in style. It's the ensemble releasing all it's force into your speaker (and you better be able to deal with it). There are spontaneous moments that sees the group in unison but also exchanging circular rhythmic patterns. This is a group that somehow, despite little time together, knows exactly what the other is going to do and each is up for the challenge. Kafka In Flight is an album and performance that is built around the ability of Ken Vandermark to write excellent material that is interchangeable for each member. You can picture most of these notes performed by different members and each coming up with a different result. But the result would still be amazing. Kafka In Flight is yet another step in the already legendary career of Ken Vandermark. While the first two albums are both hard to find and in the case of the boxed set--expensive--you should definitely seek out Kafka In Flight. It is well worth every avant garde fan's dollars. One of our Top Albums Of The 2011.
(Stephan Moore , jazzwrap.blogspot)
*****
Formed in Krakow for a jazz series at Alchemia, Vandermark's The Resonance Ensemble draws from an international pool of musicians. Like the ensemble's previous recordings—Resonance (Not Two, 2008), and the two discs from the massive, 10-CD Resonance (Not Two, 2009) box, Kafka in Flight is a live set, recorded in Gdańsk, at the Philharmonic Hall. The sound is clear and crisp, with Vandermark's writing and orchestration also doing service to the sound. He is never one to clutter or bunch players for the purpose of power and noise. The three lengthy tracks heard here state themes, break into smaller modules that he can stack and rearrange as the music is being presented. Although something like Count Basie's "April In Paris" shouldn't be expected from Vandermark, there also isn't the mishmash (which is fantastic live, but sometimes doesn't translate well to recordings) that can be found in Brötzmann's Tentet. The ensemble is quite efficient beginning as a New Orleans brass band on "Rope" with bit of funk and heavy overcoats, only to break into almost silent duet from trombonist Steve Swell's trombone and tubaist Per-Åke Holmlander.
Vandermark colors the music, brushing swells and paired notes here and there, but allowing for multiple players to solo freely in improvised sections through separation of parts and themes. The artistry here is his ability to keep all these chunks and slices of sound together in a consistent message.
(Mark Corroto, AllAboutJazz)
*****
This one I've been long waiting for. I had the privilege to witness the process of coming together of the first edition of this project. In 2007 Marek Winiarski and Ken Vandermark invited musicians from all over the world to Krakow, they would practice for an entire week every morning, play improvised sets of music every evening and finally perform as an orchestra on the last evening of the week (all of this material has been released - saturday concert in Lviv on LP, evening concerts and final concert in Krakow in a fantastic 10-cds "Resonance" box). Two years later Resonance happens again, with the same musicians (one exception - Waclaw Zimpel takes over the place of Yuriy Yaremchuk), the same time of the year (main project of the Autumn Jazz Festival), the same place ("Alchemia" club which hosts the festival). But with only two days to practice (with first one being almost entirely lost because of flight delays). Because of that Ken has to change to concepiton behind this band. It is still big ensemble, so it draws on his experience of playing in and writing for Chicago Tentet and Territory Band, but, what is a clear difference, this is a jazz band and it relies on scored material. Only the organization of this material has to be different.
Ken composed a series of modular pieces, a number of themes, motivs, bridges which, within the given frame of a suite, can be re-organized and re-ordered before each performance. Thus the constant elements can produce a virtually infinite number of orders, sequences - a different melody every time. You can read more about in the liner notes written by Ken himself. As impressive as this intellectual work behind the music is, it can also easily fill your mind with doubts whether this music is not overly conceptual. And I can assure you it's not, as the very first sounds coming from the speakers will cancel those worries.
"Pier (for Yutanaka Takanashi)" starts right away with a smoking solo by Steve Swell, no introduction, just straight into the business, with lightly swinging drums (fantastic audio realisation let you listen closely to small differences in the way Tim and Michael syncopates), tuba and bass walking fast on the bass lanes and robust, roaring sound of the Steve's trombone soaring over. After the bridge there's another strong statement, a solo slowly getting its momentum, by Waclaw Zimpel (I'm guessing) on bass clarinet. Bridge is repeated, followed by a moody exploration (clarinets), cutted repeatedly by sudden brass section accents. Reed trio (Ken, Waclaw and Mikolaj) comes forward on clarinets with a beautifull improvisation (can't wait to hear their fresh release on Kilogram Records), and is gradually joined by brass instruments. Leaving spot for fine, adventurous duo between tuba and bass. A solemn, wonderfully orchestrated motiv (Ken utilizes perfectly the brass and reeds section distincion) introduces a great, free yet lyrical solo on alto (my guess - Mikolaj).Unaccompanied at the beginning, than pushed forward by drums, it goes into extremely high shrieking register when the motiv returns, duelling with Magnus on trumpet, piercing through the orchestra's tutti. To say the very least - there's a lot going on even considering the 20 minutes span of the piece. There's no sense in disecting the three pieces (the review is already too long) so I'll just mention the nasty, funky solo by Ken, that starts "Rope (for Don Ellis)", very much like Spaceway Inc., gritty and passionate, with fantastic groove provided by the 4-piece rhythm section. And Dave Rempis pierces the sky with a complete saxophone madness exposition as the sharp chords sequence starts "Coal Marker (for Chris Marker)". Every musician has a spot to shine and they do shine indeed as the level of playing is absolutely fabulous, the focus and intensity of the execution at the top level. Its true that this one leaves more space for soloing (compared to the first edition of Resonance) but it's impossible to ignore the compositional work behind this group. All the elements of this musical puzzle are tightly arranged, with great sense of colour, dynamics, space. There's great balance to this creation. Between ferocious power of screaming horns and elegancy of swinging rhythm section (and joyfull rides of trumpet or trombone on it), between the spontaneity and rigid form (which is not so rigid on the inside as the elements within are moved back and forth before every performance). Between improvisation - composition and ensemble playing - individual statement. There's a lot of big band history in this music and a couple of nods towards to 'new music' lands explored by Territory Band. There's Ellington in the suite-form, Mingus in the blues passion, Stan Kenton and Gill Evans in the attention to colour and touch of harmonic adventure. With an infinite possibilites of organizing the written material there's no definite execution of those compositions, but if Ken stays that this concert (final on the tour) was the highlight, there's enough arguments here to trust him on that. I'm hoping for a lot more coming from this group (cd was released right before Resonance Festival in Chicago an Milwaukee - with a set of new pieces prepared by Ken, inspired by poetry of Czeslaw Milosz, on the occassion of 100th anniversary of this great poet's birthday). In the meantime this is a great release, and you owe it to yourself to give it a try even if you don't like big groups.
(Bartek Adamczak, jazzalchemist.blogspot)
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