"Backgrounds for Improvisors" (07/25/1997) Jazz Instrument Rivers, Sam, Free Music ProductionPersonnel includes: Sam Rivers (soprano & tenor saxophones); Tina Wrase (soprano saxophone); Tilmann Dehnhard (tenor saxophone, flute); Claas Willecke (baritone saxophone); Axel Dorner (trumpet); Alexander Von Schilippenbach (piano); Horst Nonnenmacher (double bass); Johannes Beockholt-Dams (drums). Producers: Johannes Bockholt-Dams Jost Gebers. Recorded live on April 5, 1995. Includes liner notes by Peter Thome. Personnel: Tilmann Dehnhard (flute, tenor saxophone); Jost Gebers (recorder); Tina Wrase (soprano saxophone); Felix Wahnschaffe (alto saxophone); Claas Willecke (baritone saxophone); Axel D?rner (trumpet); Alexander von Schlippenbach (piano); Horst Nonnenmacher (double bass); Johannes Bockholt-Dams (drums). Recording information: At The Podewil, Berlin, Germany (04/05/1995); Podewil, Berlin, Germany (04/05/1995). Photographer: Dagmar Gebers. For those who've long admired Sam Rivers or Alexander von Schlippenbach, this set, recorded live in 1995, is one of those "grail"-like recordings. While both men have been rooted in large settings for improvisation over the past 40 years -- Rivers with his wonderful Winds of Manhattan group and von Schlippenbach with the Globe Unity Orchestra, they'd never met, much less played together, before the rehearsals for this date. FMP has done a stellar job of capturing a gig so charged and spirited, where the goodwill and encouragement inspired every member of this nonet to perform as both a soloist and a contributor to the unit -- perhaps beyond their own conception of potential. The members of this group, besides the two headliners, were well-known in Europe if not on the American improv and free jazz scenes: Tina Wrase on soprano saxophone, Axel D?rner on trumpet, Felix Wahnschaffe on alto saxophone, Tilman Denhard on flute and tenor, and Claas Willecke on baritone, with Horst Nonnenmacher on bass and drummer Johannes Bockholt-Dams rounding out the band. This comes out of the gate swinging with von Schlippenbach's "If You Say," with piano, bass, and drum kit ushering in a two- and then four-chord vamp, before the horns come in playing knotty and true as Rivers and Wrase engage in call and response above the chart. Rivers then gets big and takes the first solo with von Schlippenbach answering contrapuntally, alternating lines of his theme and playing tough blocky chords for the soloist to jump from. But it's rhythmically so engaging, it just swings like mad. Rivers' "Terrain" is next. Though it is more angular from the jump, it too is rooted in the melodic interpolation of Ornette Coleman and the edgier post-bop of Eric Dolphy. But truly, this one is all Rivers -- and one can hear the same composer of "Fuschia Swing Song" here as well as the arranger for the Winds of Manhattan. As the section engages with the rhythm players, the horn interplay here is just stunning -- it's so playful and whimsical. There is some seriously out playing in the middle where Rivers, Wrase, and D?rner engage in some counterpoint improvisation without the rest of the band. The sparse "Top Dogs Double Hop," by von Schlippenbach, is actually a wonderful exercise for the arco playing of Nonnenmacher, Rivers' flute, and the intricate chromaticism of the composer. Most everyone gets in on the act for a bit, but it is so halting and deliberate that the listener is captivated by the multi-threaded melodic work for the flutes. "Background," by Rivers, is the longest piece here, and though it begins with his solo tenor, it is the hinge on which the rest of this date opens and closes. Here, the "background" is the rhythm section, charging furiously through a series of taut, dense patterns and vamps as Rivers solos furiously on top of them. When the horns enter full bore on one of the "choruses," it is like a window opening: an entirely new textural ground is laid, and a brilliant array of sonorities and colors presents itself anew as D?rner, Willecke, Rivers, Wrase, and Denhard dig in, playing through and around one another. While there are some dynamic changes and spatial interludes, for the most part this is a
