snobb Michael Formanek has enjoyed a respectable double bassist status on the New York creative jazz scene for three decades. He is probably better known by his association with reedist Tim Berne, but he has released many works as leader as well. Here on, "As Things Do", Formanek demonstrates more his abilities as a composer, the occupation he is renown for during the last decade or more.

Formanek leads the all-star Elusion Quartet on this, already their second album together. It's another New York scene veteran, sax player Tony Malaby, who steals the show though. His sax soloing is always on the front, sometimes recalling the bird calls, other times sounding as a human voice. His sax is soulful, tasteful, intelligent and full of life. Pianist Kris Davis, who released possibly one of the most highly rated albums of the year this year, stays a bit in the shade here, with just a few elegant solos and some nice interplays with Malaby (who participates on her above mentioned live album as well).

Formanek (who as usually plays vertical bass himself) composition's are a bit of a mixed bag. Tightly and precisely written on a knotty but quite accessible matter, they sound sometimes a bit too dry and too calculated. Even the very emotional Malaby soloes do not always add enough vitality. Partially, the second album half sounds quite formalistic.

Even if not a strongest Formanek work, this album is worthy to be heard because of the high level musicianship.

snobb NY-based bassist Michael Formanek's debut on German ECM label was released two years ago and being really strong album didn't make a lot of fuss.It looks that ECM tested the market with a bit more adventurous release than their regular ones, and they stayed happy with the results.

Second album quartet released with same line-up, but this time release was supported by US-European tour (who said that jazz is dead if even such non-commercial releases are supported by transcontinental tours?)and big campaign in media. Only month has gone from the day of album's release, but I saw lot of (generally very positive) reviews in European and especially UK press.So - what do we have here?

Shortly, music here is more or less same as on previous album. Same - but better. Opener "Small Faces" is one of most memorable album's composition,collective work with excellent communication between musicians. The difference one can hear from very beginning is that this album, being a classic ECM release, is a bit freer and a bit more adventurous. It looks after some success of first Formanek's album on ECM label decided their listeners wouldn't be shocked by some doze of adventure and let the musicians do not limit themselves by too safe musicianship.

Second song "Pong" is almost hit - catchy melody with bright,very lively Tim Berne sax melodic line. Before recording of this album musicians played lot of gigs together so communication level is almost telepathic. Each quartet member has enough place for improvisation inside of quite framed compositions structures.

My first meeting with this album's music for me happened during album presentation concert and it was really interesting to see and hear, how live musicianship was close to studio sound, even sound balance and atmosphere was "typical ECM". I expected to see legendary Tim Berne's sax improvs, but was slightly disappointed - on this album he is just one of quartet members and perfectly plays this role.Probably biggest surprise was fast,very technical and quite brave pianist Craig Taborn explosive improvisations. Not only during concert but on recording as well he's probably main hero.

Album's compositions notably differ one from another, but are really related by musical concept. American jazz tradition gets European chamber feeling and result is quite elegant and accessible from first impression, but multilayered and far not so simple music, after every repeated listening you'll find new interesting moments here.

Adventurous jazz not always is dissonant,structureless or screaming. Recommended!

snobb San Francisco-born and NYC-based bassist Michael Formanek started his career at 19 being a member of Tony Williams Lifetime. During 80s he worked with such great jazz musicians as Freddie Hubbard, Stan Getz and Joe Henderson among many others. Starting from 1990 he regularly releases albums as leader, generally on European labels.His most longstanding collaborator is creative sax player Tim Berne,playing almost on every Formanek's album. At the same time Formanek for decades is a member of different Berne's projects.

"The Rub and Spare Change" is first Formanek album in 12 years and his debut on prestigious German label ECM. The other members of his quartet are Tim Berne,drummer Gerald Cleaver and pianist Craig Taborn. All musicians are well established American creative artists, but what is most important - they have excellent communication when playing together. Formanek during all his career is known as talented composer and this album is not exception - music here represents perfect balance between composed and improvised, with some catchy tunes, lot of poly-rhythmic changes, chamber elegance of ECM tradition and some controlled solo explosions.

Real release's hero is pianist Craig Taborn, bringing most of lively moods and freer atmosphere, Tim Berne sounds more solid than adventurous, differently from his solo releases. Music in all leaves very pleasant feeling - successful mix of beautiful and creative, chamber and risky, elegant and adventurous. Not an album for fans of screaming sax and drastic experimentation, more creative ECM release, trying to find new, more adventurous and creative ground after some too safe decades. Easy accessible from first look, this album requires repeated listening. Could be recommended for everyone coming from more accessible ECM contemporary jazz recordings and searching a bit more adventurous quality listening.