By Don Phipps
What makes Ches Smith special? Is it his musicality – the trap set as
symphony? Is it his incredible multi-instrumental talent (on
The Self
he plays drums, vibraphone, timpani, glockenspiel, chimes, tam-tam, and
small percussion)? Or is it his ability to use these instruments to craft
free form music that conveys complex feelings and thoughts?
The Self highlights Smith’s abilities to bring it. There’s the
ac/dc approach on vibraphone on “The Problem,” which alternates between
dreaminess and energy. There’s the funk of “Stems From,” where Smith uses
the glockenspiel to create a rotating motif wrapped by syncopated snare and
bass drum. Or for those who prefer flashy drumming, there’s the wonderful
“In Two” and “Light Spirits,” with cascading snare rolls and cymbals
juxtaposed against bass drum pedal syncopation, or the beautiful tom tom
beats on “Freely Stated,” where the strokes are hard and fast but the sound
produced flows and rolls. And his free form brush work on “Subtly” is not to
be missed.
Or check out his use of the vibraphone and chimes on “Vertiginous Question,”
which turns ethereal and blends with what almost sounds like electronics at
play. Or the fascinating use of the glockenspiel to suggest a clear night of
twinkling stars on “Constellation View.” Perhaps the masterpiece of the
album is “Empty Individual.” Not only does this composition demonstrate
Smith’s endearing musical all over drumming, replete with bass drum pedal
work that startles and impresses, but to this he adds the glockenspiel for
just a couple of precise notes in the middle of his drumming escapades! The
music continues to roll about in a fine rage, with some sudden explosions
and incredible cymbal and gong play, elements that slip in an out of the
tune like changing lanes on a speedy highway.
The important thing with The Self is that Smith makes it happen –
from trampoline bounces to adventurous safari rhythms (“Get Out There And
See”). Finally, one would be remiss not to comment on his use of the bells
(or chimes as he refers to it). “Menm Bagay La” illustrates this perfectly,
where he recreates the sound of chimes blowing in the breeze.
Smith, who in 2025 has participated on Myra Melford’s excellent
Splash,
Clone Row where reviewer Aloysius Ventham wrote “I suspect it will
be my album of the year”,
and John Zorn’s Impromptus, is covering the bases.
The Self
shows that he continues to develop and expand and it’s exciting to hear his
expanding artistry. Enjoy!