By Don Phipps
Alto saxophonist Tom Weeks creates an amazing tour de force of muscular,
musical intensity on his album Paranoid II, an outing he dedicates
to the great Art Ensemble of Chicago founder and AACM member Roscoe
Mitchell (now 84 years young). Weeks, who composed all the numbers, is
joined by James Paul Nadien on drums and Shogo Yamagishi on bass. Together,
the trio rip, roar, and soar – creating soundscapes of heated beauty.
The opening “I Hate You With a Passion (for Andre Nickatina)” begins with a
slow sax lament, but as it progresses, it develops into a sweeping wave of
hard blowing before returning to the lament. On “Dummy Data,” there’s
explosive honky tonk, pushed by Nadien’s race across the trap set – no drum
or cymbal untouched – and Yamagishi’s wonderful speed walk plucks. Weeks
squeals in fury, a dynamism that reminds one of Mitchell at his most
penetrating. And Nadien’s solo, a robust coastal storm replete with fury,
demonstrates his vigor.
Heavy syncopated action is the hallmark of “Kulture Krusaders.” The rhythm
section kicks up a virtuosic outburst – the listener propelled like a jet
across the sky. One hears Mitchell in Weeks’ tone and prowess – his boiling
romp backed by Nadien’s everywhere-at-once drumming. Weeks also shows off
his circular breathing, playing a note without pausing for a breath as the
bass and drums roil about – a washing machine gone haywire. Then everything
comes to a sudden stop, followed by a wild and stuttered pulse in
edge-of-your-seat unison.
“A New American Promise” insists on a clownish Beethoven 5th motif. Is
Weeks’ wisecracking tone mocking the “promise?” Say it’s not so – LOL.
Nadien fascinates with his two-hand unity cycle, and Yamagishi rifles up
and down the bass neck – but always with a sense of control, while Weeks’
sax develops soulful arcs that shoot to the sky. Another wild ride, “Eleven
Rings (for Phil Jackson)” lets Weeks again demonstrate circular breathing
[Editor Note: I first heard this technique at a stunning solo Roscoe
Mitchell concert on February 4, 1979, at Boston’s Lulu White’s Jazz Supper
Club, in a tour celebrating the release of Mitchell’s 1978 highly
recommended release of L-R-G / The Maze / S II Examples(Nessa
Records – N-14/15). It was so innovative I have never forgotten the
experience].
Weeks’ circular series begins with a long trill that evolves into
controlled runs atop Yamagishi’s bowing and Nadien’s emergent drumming
fireworks. Weeks continues his series, becoming more frenetic, and no
matter how fluid the sax and drum, Yamagishi uses the bow to propel the
music forward. As the piece ends, the bottom drops out and Weeks repeats
his trilling opening. Simply beautiful!
On “A Fire Upon The Deep,” Yamagishi performs solo, his bass lines
fluttering about like a fish out of water – his attack precise and willful.
Weeks exhorts with powerful legato passages – and later plays in unison
with Yamagishi. He also exhibits machine gun style tonguing skills and adds
slurring runs to the mix. Nadien jumps in with sonic arcs – his sticks hit
the drums with slick rolls and rollicking splashes. All hell breaks loose –
the music’s raw energy bursts like a sun shooting out flares in multiple
directions. The cut concludes with a slow Sisyphus exertion – pushing a
boulder of hard notes up a steep mountainside.
Weeks concludes with the bopish Gaye Sex. Yamagishi shines, his
bouncy bass complex and explosive. Then he lays down a line as Weeks joins
him – a funky strut, a summer stroll along a pier, the red sun setting in
the distance. This number is pure fun – Yamagishi’s bass generates
head-nodding funk and Nadien plops and strikes the trap set as Weeks
celebrates with a sax jubilee.
Paranoid II is special. Really. Special. It has ENERGY. It
has inflamed power. And it consists of a ferocious yet controlled
performance. A five-star review for a five-star album. Damn the torpedoes –
full steam ahead! And, to borrow from David Lynch, “damn good coffee.”