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Frequently Bought Together
Product details
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Track Listings
| 1. Twenty Three Neo |
| 2. The Rub And Spare Change |
| 3. Inside The Box |
| 4. Jack's Last Call |
| 5. Tonal Suite |
| 6. Too Big To Fail |
Product Description
The Guardian, (John Fordham), September 3, 2010
(4 stars) Formanek has an imposing CV...this quartet has an all-star lineup: two-thirds of Craig Taborn's brilliant current trio...plus Tim Berne.
(4 stars) A triumph...cannily shaped group performances handled with lucid freedom...the focused unity of the band is like no other.
(4 stars) Simple ostinatos, awkward beats and sparse chords unfold elegantly into lush landscapes, loop and twirl riffs and hard-nosed rhythms.
(4 stars) A triumph...cannily shaped group performances handled with lucid freedom...the focused unity of the band is like no other.
(4 stars) Simple ostinatos, awkward beats and sparse chords unfold elegantly into lush landscapes, loop and twirl riffs and hard-nosed rhythms.
CD Description
An outstanding ECM debut for US bassist/composer Michael Formanek, 'The Rub and Spare Change' finds him leading a new, dynamic quartet, drawing on much shared musical experience. Each member of the group - the others are saxophonist Tim Berne, pianist Craig Taborn and drummer Gerald Cleaver - is a high profile player with a staunch following amongst progressive jazz enthusiasts. Although Formanek (born 1958 in San Francisco) has played often with altoist Tim Berne over the last two decades, and both have frequently played with Taborn and Cleaver, the quartet in this form is a new combination. Formanek called it into being for a gig at New York's Stone Club in 2008. All the pieces are written by Formanek. His compositional sensibilities are focused on some very mobile group music. The material is constantly changing, with an almost kaleidoscopic range of colours and shapes. A lot of energy here, too - powerful grooves and driving rhythms. The centrepiece is the 17-minute "Tonal Suite" which roves through a broad range of moods. The album is also a strong showcase for Tim Berne as sax soloist. Formanek's writing creates contexts in which Berne can soar - he is often the lead voice. The scope of Craig Taborn's playing is rigorously explored - neo-minimalist ballad feeling on the opening "Twenty Three Neo", for instance, fiercely percussive playing on the closing "Too Big To Fall" where the Berne/Taborn exchanges recall the spirit of Jimmy Lyons/Cecil Taylor. An enormously experienced artist, Michel Formanek has collaborated with Tony Williams, Freddie Hubbard, Stan Getz, Chet Baker, Gerry Mulligan, Dave Liebman, Joe Henderson, Mark Isham, Cedar Walton, Jane Ira Bloom, Bob Moses, Peter Erskine, Harold Danko, Evan Parker, Elvis Costello, and many others. He combines highly adventurous playing with the traditional jazz functions of rhythmic and harmonic understanding...as did the late, great Charles Mingus. (And indeed, Formanek has also played bass with the Mingus Big Band.) Personnel: Michael Formanek (double-bass), Tim Berne (alto saxophone), Craig Taborn (piano), Gerald Cleaver (drums)
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Customer Reviews
Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Audio CD
I have seen Michael Formanek playing live in Julian Arguelles' band over here in the UK and there is no doubt he is a great Jazz Double Bass player. So when I saw this album come out on ECM, I had no hesitation in buying it - but I have found it very difficult to like.
The sound is dominated by Tim Berne's alto and he often seems to go for the most dissonant note choices and sets up a lot of tension - which leads to a feeling of discomfort, which is only rarely released.
Craig Taborn also goes for a lot of dissonance and dischord - although there are moments of chamber music "stillness" and a Debussy-inspired sound palette. The sound throughout is excellent and clear.
I would only recommend this to those who are really into Free Jazz and while the "Tonal Suite" is quite impressive in places, I was longing for more melody and more release of the constant tension throughout. You often get all 4 instrumentalists soloing at the same time with insistent swirling sounds and fractured, stumbling grooves. There is not much for the listener to hang onto.
I can imagine this music coming across much better in a live setting, where the excitement and interaction is to the fore - but on record it is quite tiring. If you are looking for relaxing or melodic Jazz, then I would avoid this.
The sound is dominated by Tim Berne's alto and he often seems to go for the most dissonant note choices and sets up a lot of tension - which leads to a feeling of discomfort, which is only rarely released.
Craig Taborn also goes for a lot of dissonance and dischord - although there are moments of chamber music "stillness" and a Debussy-inspired sound palette. The sound throughout is excellent and clear.
I would only recommend this to those who are really into Free Jazz and while the "Tonal Suite" is quite impressive in places, I was longing for more melody and more release of the constant tension throughout. You often get all 4 instrumentalists soloing at the same time with insistent swirling sounds and fractured, stumbling grooves. There is not much for the listener to hang onto.
I can imagine this music coming across much better in a live setting, where the excitement and interaction is to the fore - but on record it is quite tiring. If you are looking for relaxing or melodic Jazz, then I would avoid this.
1 of 3 people found the following review helpful
Format:Audio CD
Yes this is free jazz and a wonderful example. It builds on top of itself with each track. The playing is brilliant and no one lets the side down. If you like your jazz noise loud and with attitude then you could do no wrong here. True there is little melody but that is not what this album is about.
The bass is truly wonderful, the sax playing is experimental and exiting, the keyboards are wonderful and give most of the melody but always searching for something and the drums drive it all along perfectly.
A wonderful listen but not for the faint hearted.
The bass is truly wonderful, the sax playing is experimental and exiting, the keyboards are wonderful and give most of the melody but always searching for something and the drums drive it all along perfectly.
A wonderful listen but not for the faint hearted.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
2 reviews
23 of 24 people found the following review helpful
A beautiful, singing, snarling beast
21 Dec 2010
Format:Audio CD|Amazon Verified Purchase
This recording has been out for over two months now, and no one has posted a customer review. Where are the regular Reviewers Of The Obscure? I guess it's time for me to post, for the first time. There are professional reviews available online, which I commend to you. I will simply speak of what I hear, right or wrong. I hope it will be of value to some of you.
This is the third recent ECM release for which the label ran a promotional video. I have purchased -- and enjoyed -- all three recordings. (The other two: Brewster's Rooster, and Mirror.) In this video, Formanek explains that after just one live performance by this group, he knew they needed to record. I thought, "Yeah, sure." Now, after about three dozen close listening sessions, I heartily agree with him. Formanek says he wrote the music to showcase the things he enjoys about each of these players. Not a musician myself, I wouldn't understand the technical explanation, but my ears say he got it right. Perhaps like me, you have read about these artists, but are unsure which recording(s) would be the best introduction to their work. Good news: this is it!
This has been described as something of a "supergroup" -- a Downtown Manhattan Jazz Supergroup. The word -- and this music, somehow -- brings to mind another treasured recording by a onetime supergroup: Blind Faith. This is truly a quartet recording -- as in four equal voices -- and it is highly refined, and it is heavy. There are no "solos" -- yet everyone is featured, and heard. One reviewer noted that regular fans of the Downtown scene might find this too structured. Maybe so, but for the rest of us, I suspect that this is just right.
This is an exceptionally well matched quartet. Although I first heard Tim Berne in '87 (Sanctified Dreams) I have never been that keen on his sound; yet, in this context, he is perfect. I can't imagine anyone else in this ensemble. (I'm crazy for Rob Brown -- with the Parker Quartet, where his exuberant outness is grounded in the organic richness of the other three. Likewise, Zorn with Masada.) Here, with his relatively spare approach Berne says it all, while leaving plenty of room for the others, especially Taborn.
What a great opportunity to hear Craig Taborn on the piano. Although I could gladly go on at length about his performance here, I'll sum it up with this: he plays it all -- every role, every style, and stunningly. Wow!
Gerald Cleaver: terrific. In his playing, I hear both that (ECM) European light precision instrument crispness, and straight up (Blue Note) American jazz muscle, in equal measure. Delightful. Perfect.
A review of Michael Formanek's vitae reveals him as the busiest bass player you've never heard of. And after listening to this recording, you may think, "I still don't know anything about him." Although, doubtless, he is most proud of his six compositions, with repeated listening you will begin to hear and appreciate his playing and contribution to the group performance. Wonderful.
So there it is. I'm totally gone over this recording. Maybe you would enjoy it, too. Fifty-eight minutes. The usual beautiful ECM sound quality. Hours of listening pleasure. Get out your headphones. Enjoy.
This is the third recent ECM release for which the label ran a promotional video. I have purchased -- and enjoyed -- all three recordings. (The other two: Brewster's Rooster, and Mirror.) In this video, Formanek explains that after just one live performance by this group, he knew they needed to record. I thought, "Yeah, sure." Now, after about three dozen close listening sessions, I heartily agree with him. Formanek says he wrote the music to showcase the things he enjoys about each of these players. Not a musician myself, I wouldn't understand the technical explanation, but my ears say he got it right. Perhaps like me, you have read about these artists, but are unsure which recording(s) would be the best introduction to their work. Good news: this is it!
This has been described as something of a "supergroup" -- a Downtown Manhattan Jazz Supergroup. The word -- and this music, somehow -- brings to mind another treasured recording by a onetime supergroup: Blind Faith. This is truly a quartet recording -- as in four equal voices -- and it is highly refined, and it is heavy. There are no "solos" -- yet everyone is featured, and heard. One reviewer noted that regular fans of the Downtown scene might find this too structured. Maybe so, but for the rest of us, I suspect that this is just right.
This is an exceptionally well matched quartet. Although I first heard Tim Berne in '87 (Sanctified Dreams) I have never been that keen on his sound; yet, in this context, he is perfect. I can't imagine anyone else in this ensemble. (I'm crazy for Rob Brown -- with the Parker Quartet, where his exuberant outness is grounded in the organic richness of the other three. Likewise, Zorn with Masada.) Here, with his relatively spare approach Berne says it all, while leaving plenty of room for the others, especially Taborn.
What a great opportunity to hear Craig Taborn on the piano. Although I could gladly go on at length about his performance here, I'll sum it up with this: he plays it all -- every role, every style, and stunningly. Wow!
Gerald Cleaver: terrific. In his playing, I hear both that (ECM) European light precision instrument crispness, and straight up (Blue Note) American jazz muscle, in equal measure. Delightful. Perfect.
A review of Michael Formanek's vitae reveals him as the busiest bass player you've never heard of. And after listening to this recording, you may think, "I still don't know anything about him." Although, doubtless, he is most proud of his six compositions, with repeated listening you will begin to hear and appreciate his playing and contribution to the group performance. Wonderful.
So there it is. I'm totally gone over this recording. Maybe you would enjoy it, too. Fifty-eight minutes. The usual beautiful ECM sound quality. Hours of listening pleasure. Get out your headphones. Enjoy.
4 of 5 people found the following review helpful
formanek's leading again...
21 Jan 2011
Format:Audio CD|Amazon Verified Purchase
this is one of the greatest recordings in last decade, i think. as an old fan of "wide open spaces" (from enja label in 1990 with Greg Osby, Mark Feldman, Wayne Krantz and Jeff Hirshfield) i see michael formanek's "the rub and spare change" as a "late follower"!
the first song "twenty three neo" (as you can check it from the video) has an "ecm atmosphere" partly because of formanek's arco but this is the only song that completly represents and/or reflects such an "atmosphere"!
the second cut "the rub and spare change" is a circular one. the third one "inside the box" is for tapping and even jumping! "jack's last call" is a trio performance and it begins as a ballad then becomes a cascading song that craig taborn rules! "tonal suite" is the longest piece and a great opportunity for each of the members of the band to exhibit their virtuosity respectively. the last track "too big to fail" is a free blowing session, so it's tim berne's time!
all compositions are originals from mr. formanek and all are great.
enjoy it...
the first song "twenty three neo" (as you can check it from the video) has an "ecm atmosphere" partly because of formanek's arco but this is the only song that completly represents and/or reflects such an "atmosphere"!
the second cut "the rub and spare change" is a circular one. the third one "inside the box" is for tapping and even jumping! "jack's last call" is a trio performance and it begins as a ballad then becomes a cascading song that craig taborn rules! "tonal suite" is the longest piece and a great opportunity for each of the members of the band to exhibit their virtuosity respectively. the last track "too big to fail" is a free blowing session, so it's tim berne's time!
all compositions are originals from mr. formanek and all are great.
enjoy it...
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