The Whole Tree Gone

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Total Tracks: 8   Total Length: 65:30

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Charles Farrell

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Since returning to active playing in 2005 after a career as a boxing manager, pianist Charles Farrell has released eleven CDs, played with Ornette Coleman, and ...more »

01.19.10
Myra Melford’s Be Bread, The Whole Tree Gone
2010 | Label: Firehouse 12 / IODA

With The Whole Tree Gone, Myra Melford has recorded a sad and beautiful album, a sonically rich meditation that poignantly addresses social and animal rights as well as environmental concerns. Melford's current working band, Be Bread, lets the music itself become a political language. It's a testament to their skill how directly these non-lingual voices speak: “Through the Same Gate” features an eloquent clarinet improvisation from Ben Goldberg, with Melford and Wilson providing impassioned support. The pianist's solo is stately and articulate. “Moon Bird,” with its whole tones and stylistic reference to Cecil Taylor's playing could almost be a latter day Ellington portrait. “Night” is dark and brooding; acoustic bass guitarist Stomu Takerishi's setting up a subtly propulsive rocking over a slowly developing theme. The title track, a boppish line, gives everyone a chance to stretch out in fleet, sure-fingered solos.

Trumpet player Cuong Vu asserts himself throughout. He's a unique player who sticks to a bright middle register when using full tone, but frequently moves into a non-pitched, kissing sound during the more aggressive passages. Check out the combination of passion and logic he displays on “On the Lip of Insanity.” “Knocking From the Inside,” an angular line juiced by… read more »

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Listen, enjoy

thirdpol

Very lyrical and melodic, often, with harder-edged more challenging solos by Melford herself and Ben Goldberg. Brandon Ross contributes sweet and intricate guitar lines as he did on some of Henry Threadgill's records. Strongly recommended.

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Beautiful music...

rubiconvict

This is not obscure music. It's totally approachable, but somehow pushing too. Some great players. I'm especially fond of Ben Goldberg's soloing on the record. And the rhythm section of Matt Wilson and Stomu Takeishi are killing it. Weird, extremely woody bass tone. Some overall odd recording choices. But I like odd. It works when the music is this fluid and well-conceived and the players are in sync this nicely. Thanks for that synchronicity, I assume, should go to Myra Melford.

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They Say All Music Guide

Myra Melford’s pithy, candid, creative, quiet fire music is best heard in concert, but her studio recordings give you a very good helping of what’s she’s capable of in a shorter form. The sextet dubbed Be Bread has evolved over a handful of years, mixing and matching instruments and timbres that favor the lithe, playful, and at times craggy piano style of Melford. With clarinetist Ben Goldberg, trumpeter Cuong Vu, and guitarist Brandon Ross, Melford has set yet another new standard of excellence in the modern progressive world of jazz. It’s also admirable that drummer Matt Wilson is on yet another world-class project as a sideman alongside the still underappreciated acoustic bass guitarist Stomu Takeishi. While these compositions comprise, in part, older material, some taken from the suite “The Whole Place Goes Up,” she continues to massage and morph this music with startling originality and purpose. Goldberg’s clarinet — taking over for predecessor Marty Ehrlich — sports an unforced, simpler feeling like the noble, ebony colored wood it is made from. With the more demonstrative Vu, they come to terms Melford’s rambling, bluesy piano with quick unison lines and spiky accents on “Moon Bird,” breeze along in the modified tango “Through the Same Gate,” or create high drama in combustible modal freedom for the 5/4 beat of the title selection. Melford’s balanced music is a marvelous combination of composed and spontaneously improvised approaches, best heard on “A Generation Comes & Another Goes,” much like a Carla Bley mix of spooky seriousness and dancing whimsy. Ross, a far too talented player to continue flying under the radar, gets a sweet, plucky feature during “On the Lip Of Insanity,” where the band is careful being careful. At times you hear funky or Eastern Indian inferences, while overall, the music is not so complicated as it is elegant and parabolic. Happily, it is another triumph for Melford in that her hot streak of extraordinarily original projects keeps rolling on and upping the ante. – Michael G. Nastos

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