Customer Reviews

Configuration

5 star:		(3)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

On Configurations, Sam Rivers, that redoubtable New York wind player, has found his ultimate band. Tony Hymas, European iconoclast pianist, co-founder of that great fusion band The Lonely Bears, and frequent collaborator with English sax genius Tony Coe, here acquits himself with aplomb in the presence of a very high-powered band. Paul Rogers, veteran free-jazz bassist, fits in perfectly. The ringer is French drummer Jacques Thollot, a name new to me, but one who seemlessly meshes into this rarified context.

This disc holds a few surprises. For example, it starts out with Rivers' most melodic and engaging composition, "Beatrice," a gorgeous ballad that sets a very high standard for the proceedings--and probably throws off a lot of potential happy listeners. On the next cut, Configuration morphs into more typical Rivers free-expressionistic jazz with "Cheshire Hotel," a composition by the monster European free jazz guitarist, Noel Akchote. Some listeners, beguiled by the sheer beauty and melodicism of "Beatrice," might throw in the towel on "Cheshire Hotel"--an understandable but wrong-headed move.

Listen, you need to stick with Rivers, trust the man who gave you "Beatrice" as a kind of free pass, as it were, into his world of outre jazz. "Etchings," featuring Rives on flute (he is certainly one of the very best jazz flautists), will convince you. "Configuration," the title cut and center piece of this remarkable outing, features Akchote, Hymas, and Rogers at their most outre--and most engaging--at least to these ears. Starting out with some very atmospheric acoustic guitar and upper-register piano stylings, the tune changes character and shape as Rivers comes in on tenor sax. Demonstrating a most enduring and engaging sonoroty on his instrument, Rivers knocks off a brilliant yet thoroughly accessible free-jazz solo, punctuated by cutting-edge guitar stylings from Akchote and impossibly hip drumming courtesy of Thollot. Make no mistake, this is an all-out sonic assualt, although of the highest order, and the timid will likely be permanently scared off. But stick with it, and you'll be treated to one of the most amazing free-jazz improv passages featuring Akchote and Rivers (on flute!) available anwhere on jazz. If this music doesn't get to you, you must be comotose!

"Jennifer" returns to the ravishing balladic gorgeousness of "Beatrice," this time, thanks to the compositional prowess of Tony Hymas. In between this cut and the last four, which continue the balladic beauty of "Beatrice" and "Jennifer," reside three rather prickly numbers: "Zing," "Sketches," and "Rififi." For the veteran Rivers' afficionado, these will present little difficulty. But for the weekend-warrior jazzer, for whom Joe Lovano presents a real challenge, these will probably be the last straw.

So be forewarned: This is some of the greatest free-jazz available out there, but it comes wrapped in impossibly enticing balladic trappings. Those should do little to put off the hard-core free-jazz fan, but they may well sink this disc for the more conventionally oriented listener. My advice to all: stick with Rivers, through thick and thin. You will be amply rewarded.

For those of you who don't know the music of this true master (or even for those of you who do), this album is a near-masterpiece. It displays Rivers' very original style in a somewhat unusual setting. Backed by a group of unknown but brilliant European musicians, Rivers shows just how impressionistic and reflective his music really is. All the musicians are terrific, but pianist Tony Hymas and bassist Paul Rogers should be particularly credited for the date's success. Hymas' duets with Rivers on his own "Jennifer" and "Moonbeams" are gorgeous, and Rogers does duets á la Dave Holland on "Etchings" and "Zing." This is an exquisitely balanced album by one of the truly great improvisers.

The Dennis review is right on! I can't add much to it. I generally do not pursue the more recent work of the "old school" giants like Sam Rivers. I focus on their early works when they were really breaking into new things. Usually later work tends to sound worn out and the chops are failing. But there is not one hint of that here. Instead it only profits from Sam's tremendous experience and unique abilities. I was not familiar with the musicians that accompany him on this recording but I would say they are each monsters on their own. The duets are tastey samples of each musician's skill and creativity. The group efforts are wonderful collaborations. It is true that their is a wide range of stylings here, but anyone that appreciates the most free work of a guy like Rivers generally never loses taste for the more traditional leanings. Nightfall is especially beautiful. This recording is just an outstanding experience that very few musicians could create. If you even know who Sam Rivers is, then add this to your collection. Sit back and experience a complete artwork by a master. It is fulfilling.

Despite the almost absent liner notes and unusual recording mix this is a must for Sam Rivers fans. A mix of old and new or unfamiliar tunes, it is well-played, abstract, in and out jazz by an all-too-little recorded and underrated master. 'Beatrice' is particularly nice.

this is awful music...it reminds me of my kids recital..when EVERYONE..is testing out their instrument...at the same time...im a pretty open person...but theres no room for this..not on my shelf...if you like jazz...smooth jazz..check out Norman Brown..Albright...Streetwise...something...anything...just not this....but of course..this is just my opinion..and who really cares........