Customer Reviews

Universal Syncopations

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Kinda like an ECM all-star session, with the lads performing at peak levels. Jan Garbarek hasn't sounded this good in a decade. Jack DeJohnette, likewise. As I've said before, when the ECM thing works, it often works wonders.

Jan-Erik Kongshaug has slowly but surely become the world's premier sound engineer. The balance, imaging, and soundscape he achieves here are just this side of miraculous. The high point is obviously "Univoyage," nearly 11 minutes of glorious interaction, with the five principles (Vitous, bass; Garbarek, tenor sax; Chick Corea, piano; John McLaughlin, guitar; and Dejohnette, drums) all playing their butts off, plus a nifty brass choir (Wayne Bergeron, trumpet; Valery Pomonarev, trumpet, flugelhorn; and Isaac Smith trombone) adding deft coloration and punch. The ensemble vibe continues with "Tramp Blues" (sans McLaughlin and Corea) and "Faith Run" (with Garbarek and Corea sitting out), with some of McLaughlin's tastiest playing in memory and Vitous showing why he's always been considered the Next Big Thing on bass, even when he hasn't consistently delivered.

I must confess that I might not have bought this disc if I'd known in advance that it mainly consisted of trio numbers (Vitous, Garbarek, DeJohnette). But this is far from the typical pianoless trio blowing session. Vitous shows himself to be an entirely engaging conposer (all the tunes are his alone or with various band members). And indeed, one might wish for more from Corea and McLaughlin--the latter esp.--but I for one am glad to live with what I've been given.

Something special is going on in this session, something akin to--but not exactly like--what happened with those two special ECM sessions in the early 80's, featuring Garbarek, Charlie Hayden, and Egberto Gismonti, Magico and Folk Songs. Universal Syncopations is undoubtedly Vitous's finest disc ever, and one that any and all ECM loyalists will want to own, as well as anyone who loves edgy, mind-expanding, straight-ahead jazz of the first water.

This is basically a Vitous, Garbarek and DeJohnette trio with guest appearances by Corea and McLaughlin and some interesting brass accents. It moves from a fairly easy going, accessible piece to more open, free style jam by the trio. (though in fact, the drum and bass parts were laid down separately) The mood is pretty laid back, but there is a quiet fire burning in many of the tunes. The more you listen, the more you'll hear. "Lyrical" is the word that most comes to mind, though just when you're comfortable the tunes are likely to hit you with an unexpected edge.

The compositions are all Vitous' or credited to the trio. His compositions and style account for the complex lyricism that carries the songs. And the musicians are caught up in it. Garbarek moves comfortably in that lyricism, occasionally showing a bit more force than he has shown in a while and occasionally giving up the soprano in favor of a tenor sax. Corea brings considerable flare, sounds like he's having fun, and the whole would suffer without him. But there is not nearly enough McLaughlin and he seems underused when he does come in. Not bad, just a disappointment for those looking for a strong showing.

These guys are good, comfortable with one another and with the music, and the compositions are strong. Anyone familiar with their ECM output will find this in league with classic ECM jazz.

The legendary Jazz bassist got to work with an outstanding supporting cast here, a roster offering almost intimidating expectations. Certainly those expectations do not feel reached with this mostly technically accomplished though melodically fleeting piece of work. Oozing with individual talent, Universal Syncopations is one of those sporadically brilliant, idea-driven sessions which finds these powerhouse players struggling to mesh into one cohesive union. Instead we are offered a wealth of soloing, off-kilter experimentation, and indulgent instrumental interplay, which produces mostly intriguing but incomplete compositions. When passages in certain tracks and maybe one or two whole songs themselves indicate a greater cohesion then the majority of this educated noodling suggests, we are reminded the true potency one such lineup is capable of producing.

The cover of this CD is a picture of clouds. If memory serves, my first LP of this artist was Mountain in the Clouds. Mr Vitous seems to be a kind, gentle person with a strong spiritual side if clouds, titles and music are any indication. If you like airy, open music played by masters, music that you might find played as store music in a San Franciscan Alternative Bookshop or in an upmarket hip dentist's surgery then this may well suit. Reminiscent even of Mr Stan Getz' Samba phase - not that there's anything wrong with this music. It's Saturday-morning-with-a-cup-of -coffee-with-the-sun-making-its way-through-the-curtains-and-a-bird-or-two-chirping-outside music. But don't expect to be shaken or stirred by it.