WADADA LEO SMITH — Wadada Leo Smith / George Lewis / John Zorn : Sonic Rivers

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WADADA LEO SMITH - Wadada Leo Smith / George Lewis / John Zorn : Sonic Rivers cover
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Album · 2014

Tracklist

1 Cecil Taylor 8:57
2 The Art Of Counterpoint 3:50
3 North 7:14
4 South 5:44
5 East 4:06
6 West 3:56
7 Screaming Grass 5:50
8 The Culture Of Gun Violence In The US 5:43

Line-up/Musicians

George Lewis: Trombone, Electronics
Wadada Leo Smith: Trumpet
John Zorn: Alto Saxophone

About this release

Tzadik TZ 4001 (US)

Recorded at EastSide Sound, in New York City on December 17th, 2013

Thanks to snobb for the addition

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WADADA LEO SMITH WADADA LEO SMITH / GEORGE LEWIS / JOHN ZORN : SONIC RIVERS reviews

Specialists/collaborators reviews

snobb
John Zorn's prolific Tzadik label started a new SPECTRUM series with an excellent collaboration between three modern creative jazz giants culminating in the album, "Sonic Rivers". Three horn players - trumpeter Wadada Leo Smith, trombonist George Lewis and Zorn himself on saxes, play a restrained session full of bursts and free jazz beauty.

I was expecting this album's concept to recall one of the legendary works between George Lewis and John Zorn in collaboration with guitar genius Derek Bailey resulting in the album "Yankees",released on the Celluloid label in 1982. Even if more than three decades separate these two releases, besides the line-up, they have some more things in common. Both "Yankees" and "Sonic Rivers" radiate that adventurous and creative jazz spirit which becomes more and more rare in the current jazz scene.

Wadada Leo Smith and George Lewis are two key artists of Chicago's AACM (Association for the Advancement of Creative Musicians) movement, which began in the mid 60's. Both are not only musicians, but composers as well, known for their experimental works. John Zorn is probably the most influential figure on the NY downtown avant-garde scene for the last few decades, known for his explosive dissonant playing and his many compositions as well.

Here, on "Sonic Rivers", one can find a very successful balance between the non-jazz avant-garde and the non-traditional compositions of the Chicago school, plus the New York eclectic explosive mix of all styles in one. Surprisingly enough, no-one of these three musicians dominates on these recordings. Even Zorn, adding his dissonant sax soloing, leaves a lot of space for the others. In all, this music sounds very aerial, almost minimal in moments, but still full of content - the characteristic by which one can usually separate the best free jazz albums from all the others. Lewis uses some electronic devices on a few compositions, but generally it's three horn players building multicolored acoustic pictures.

Critically thinking, there is nothing revolutionary different or just really new here. Mainly this music's value is that it reinvents that creative spirit which made so many 60s and 70s jazz releases great listening, even till now, and in a big part, almost forgotten in these modern days of music. The modern jazz scene really needs more of this inspiration today.

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