FRANK GRATKOWSKI,
KOLLAPS,
RED TOUCAN 9317.
Marsch
/ Annäherungen / Spiel / Scherzo II / Rotation / de profundis / Kolaps II.
63:19.
Gratkowski, as, cl, b cl, contra b cl; Wolter Wierbos, tbn; Dieter
Manderscheid, b; Gerry Hemingway d. May 4, 2000, Köln, Germany.
No longer is the piano-less quartet an oddity, and neither is the simple
instrumentation of sax/clarinet, trombone, bass and drums. Gratkowski and
colleagues are veterans of the free improvisation scene, their individual
contributions and reputations are well established. That said, Kollaps is
one of the finest group recordings of the genre, due both to the detailed
writing skills of Gratkowski and to the outstanding performances from each
member of the quartet. Through the years, the small Red Toucan label has issued
several recordings that blend the free Jazz aesthetic with rollicking tunefulness,
and this release does the same. Influences as diverse as George Russell, Carla
Bley and William Breuker abound, though none is immediately apparent. The
welcome emphasis on abstract melody and elaborate arrangements is resoundingly
successful due to Gratkowski's considerable skills. He knows how and when to
let his soloists loose with strong backing from the rest of the band, without
devolving to variations on a blowing session. On "Annäherungen",
to cite a random example, Gratkowski's alto romps exuberantly, stretching
across boundaries, after which Wierbos runs up and down his slide with
remarkable agility, showing why he is considered such an extraordinary stylist.
Hemmingway is at his best, too, with a compact, focused effort, sporting
nothing short of near-perfect technique, uniquely suited to the group sound. Hemingway's
solo develops concisely, so that the listener's interest never wanes.
Gratkowski returns to one of his bass clarinets with a more subdued though no
less fascinating take, while Dieter Manderscheid adds critical support. The latter
is much in demand as a bassist, and it is easy to see why, as his tasteful,
elastic playing is always perfectly in on text. The real engine of this
session, though, is Gratkowski, whose wicked, humor-filled writing not only
sets the stage, but also makes this one of the most interesting and successful
free improvisational releases this year.
Steven Loewny,
Cadence Magazine, January 2002