04/04/2023
"Featuring Mario Rechtern on alto, baritone & sopranino saxes & flute, Eric Zinman on piano and Weasel Walter on drums. Both saxist Mario Rechtern and pianist Eric Zinman live in the Boston area and are longtime legends of Free Music from New England. I had been hearing about Eric Zinman for many years due to his recordings with Francois Tusques, Linda Sharrock and Ted Daniel, as well as more recently playing with several Evil Clown projects . Saxist Mario Rechtern I know of less well, although he has worked with Linda Sharrock, Weasel Walter and Blaise Siwula. Drum wizard, Weasel Walter, you should no doubt know about, since he has worked with many of the elders of avant/jazz like Hal Russell, Henry Kaiser, Vinny Golia and many others. I caught Mr. Rechtern with Linda Sharrock at the Victo Fest a few years back. I haven’t heard Mr. Zinman in concert yet. To me, this sounds like Free Jazz played well-seasoned players who have been doing this for a long time. After starting out on alto sax, Mr. Rechtern switches to baritone midway, bending and twisting his notes inside-out. Mr. Zinman plays furiously free, whipping up several storms of notes with Mr. Walter tightly connecting in wave after wave. Things evolve organically, with long sections of quieter free improv which are focused, intense and consistently spirited. Zinman sounds like he is fanning the strings inside the piano at times, while Weasel plays with much restraint. At times Mr. Rechtern reminds me of Roscoe Mitchell when both are playing the sopranino, getting a keening, high end, bent note, nasal sound, almost like a double reed pushed to its extreme. Once we become adjusted to the language or sound of this music, I start to hear an ongoing dialogue or conversation, which sounds like a series of short stories unfolding. Zinman on piano and Walter on drums work quite well together as they navigate the furious rapids they are moving through. Inside the booklet contains a series of strange words, prose or poetry or something equally weird, hard to tell but worth thinking about. The second piece, “When Seas Go High,” starts quietly yet soon erupts with bristling intensity, the tempo speeds up, slows down, becomes dense and then has a few spacious sections. Rechtern stays in the high register, spewing out a torrent of bent notes which has a scary effect at points. Someone who hasn’t listened to much Free Jazz, might think that this is boring or predictable yet there is much more going on here as things consistently change and different combinations of sounds are always morphing into something else. At almost 74 minutes, this is quite a bit to take in at one sitting yet I found myself at the edge of my seat throughout."
- Bruce Lee Gallanter, Downtown Music Gallery
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4 track album