| Note: The following is a review of the LP "Ready for the90's," one of two lps that "This Way Is West" was re-issued from. |
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READY FOR THE '90s –– K2B3 2069: I GOr' s BLUEs; LIKE LATIN/SYNAPSE;MODERN GIZZ; P.O., CECIL. Personnel: Marty Krystall, tenor saxophone; Buell Neidlinger, bass; Warren Gale, trumpet; Billy Higgins, drums; Cecil Taylor, piano (cut 4); Dennis Charles, drums (cut 4) |
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| This debut recording by Krystall Klear and the Buells came as quite a surprise to me. I must admit I didn't know just what to expect, since my first exposure to their music was in person several years ago when Krystall and Neidlinger were performing sporadically around Los Angeles. They were, to put it mildly, very avant garde in those days. Therefore, I imagined that they must be almost off the planet by now- especially with that cryptic title: Ready For The '90s.
What emerges, however, is a thoroughly engaging program with a consistently high level of musicianship. Krystall and Neidlinger have been musical compadres for many years now, and their musical familiarity is evident throughout. Neither of these musicians has enjoyed the exposure that their talents and dedication to jazz deserve. Neidlinger's credits are many and varied, having backed Coleman Hawkins and Johnny Hodges in their later days, Cecil Taylor (who is featured on one track of this album) in his earliest ones, in addition to such major pop artists as Barbra Streisand, The Temptations, and Dolly Parton. It is obvious, though, from Ready For The '90s that Neidlinger's (and indeed Krystall's) first love is jazz. There are elements of hard bop, the blues, free form, and even a touch of latin. P.O. stands out as the oldest cut, written by Neidlinger and recorded in 1961 "to give Cecil Taylor an opportunity to play the 12 bar blues.Of the remaining four cuts Krystall shines (pardon the pun) predominantly. On the opening I GOr's BLUEs, trumpeter Warren Gale and Krystall weave in and out of each other-sometimes clashing-and then take off on their own trips. Gale's tone is pure and clear, and his control of the instrument is marvelous. However, anyone looking for lots of warmth and mellowness won't find too much here: the sounds are angular, stabbing, and often quite harsh. The quasi Latin feel in Like Latin/Synapse (actually two compositions of Krystall's in a medley) is an unusual feature for this type of group. The operative word is '`like," for the pulse barely resembles a latin beat. However, even that minute nod to South American rhythms has Krystall reminiscent of the calypsoish Sonny Rollins. Krystall's drive and attack are not unlike Sonny's, and the younger man seems to be taking those formative tenor explorations even one step further. Neidlinger provides a steady, walking bass line, remaining highly sensitive to Krystall's meanderings along the way Meanwhile, Gale has much of importance to say. His full, open style makes good use of the space provided by the composer. His flow of musical ideas is endless and always interesting, and his interplay with Krystall is a good example of two minds with a single thought, their separate improvisations often coming miraculously into unison. The old Dizzy Gillespie standard Night In Tunisia has been resurrected here as Modern Gizz, almost nine minutes of exploring inside, outside, and all around this familiar theme. Everyone takes a solo, and Billy Higgins exemplifies his highly imaginative, ingenious drumming style. He and Neidlinger provide a constant cushion upon which the two horns buoy themselves. Gale gives the impression of being a Gillespie disciple-displaying more of the master's spirit than individual technique or style. The final track, Cecil (named by composer Neidlinger for his frequent collaborator Taylor), opens with bass lines offsetting some outlandish tenor/trumpet configurations, and Higgins using the entire spectrum of his drum set. Although what comes out is quite cacophonous, there's a definite sense of direction apparent. Each instrumentalist is playing with each other, giving the effect of a fiveway conversation: each voice striving to be heard, but not at the expense of another's. Though this album may not be everybody's cup of avant garde tea, it's far more exciting than most of the triedandtrue jazz of the 1980s so far. Krystall Klear and the Buells offer a perfect opportunity to join in some navigations into uncharted territory. -Frankie Nemko-Graham |
