By Martin Schray

There are lots of legends in US Free Jazz (Cecil Taylor, Ornette Coleman,
Albert Ayler, Milford Graves, to say some outstanding ones), however there are
many extra unsung heroes. Jemeel Moondoc is one in every of them.

The saxophonist was a driving drive within the New York loft jazz scene of the
Nineteen Seventies after which in the Decrease East Facet/East Village scene of the early to
mid-Eighties, and though he was a part of Cecil Taylor’s band for a while
(sadly undocumented), his work has obtained comparatively little
recognition. Moondoc died in 2021 at the age of 76 after a life-long
wrestle with well being issues, together with sickle cell anemia. Hardly anyone
appeared to note his loss of life, there have been no obituaries within the main media.
Nonetheless, the Arts for Arts group, which is chargeable for the Imaginative and prescient
Competition in New York, referred to as him a “passionate, pushed, unapologetic
musician who was decided to make music on his phrases“. They’d introduced
the person with the attribute hat to the stage a number of occasions. Amongst the
individuals behind that group is bassist William Parker, whose circle
contains trombonist Steve Swell and percussionist Hamid Drake.

So, Steve Swell’s quartet Fireplace Into Music is a product of the New York
improv scene. The trombonist says that he “was fortunate to be invited to play
in Jemeel’s ‘Jus Grew Orchestra” within the Eighties and that “it was an honor
and inspiration to share the stage with him.” He shaped Fireplace Into Music for
a three-and-a-half-week tour in late 2004, adopted by a shorter tour in
the autumn of 2005. The quartet’s solely studio recording, Swimming in a Galaxy
of Goodwill, was launched in 2007, additionally on Rogue Artwork. The 4 had
initially deliberate to reunite in the summertime of 2021, however Swell was stricken
with throat most cancers and Moondoc handed away shortly thereafter. Steve Swell
has due to this fact determined to launch beforehand unreleased materials from
performances by the band. For Jemeel – Fireplace from the Street presents two
live shows from 2004 and 2005 in Texas plus an look on the Guelph Jazz
Competition in Ontario, Canada. The music is a tribute to the late nice
saxophonist and, to chop an extended story quick, it’s a nice one.

It already begins with the rhythm part. William Parker and Hamid Drake
have been one of the best one in Free Jazz 20 years in the past (to today their class is
undisputed). Like no different, they handle to swing, even when they don’t merely
play time. When they’re in greatest form, like in these three performances,
you need to linger within the second with them. What’s extra, the quartet’s
lineup can also be harking back to the nice New York Artwork Quartet. As with the
legendary band from the Sixties, all the things comes out flowing, very tight and
performed with excessive self-confidence. A few of the music is utterly free, as
within the first live performance, and but very near the custom. As a saxophonist,
Moondoc may not be the best technician, nor do classical harmonic types
appear to be vital to him. Sound, intestine feeling and improvisation are in
the middle of his enjoying. His essential affect is unquestionably the blues, his
fashion may be very lyrical and explorative. Steve Swell ideally enhances
Moondoc, he’s a superb musician, his earthy enjoying intertwines
completely with the strains of the saxophone. The music in all three live shows
is thrilling (extra modal on the primary CD, extra harmolodic on the second) and
ahead, each within the custom of classical and early Free Jazz.

Intimately, which means that you get to hear every kind of enjoying, for
instance solos just like the wild, super-intense 10-minute one by William Parker
within the first live performance on the El Dorado Ballroom in Houston, which sounds
like a stream-of-consciousness monologue changed into music (together with a
recurring blues riff). Swell and Moondoc reply to Parker with extremely
expressive, unaccompanied quick assaults. There are additionally duos just like the
bass/drums one in “House Cowboys“ and in “Field Set“ and final however not least
all sorts of trios, which at all times emerge from the heads in the composed
items. However the 4 are at their greatest after they let it rip collectively. You
can hear that effectively in Steve Swell’s aforementioned rolling blues “House
Cowboys“, which makes you need to snap your fingers, and in “Field Set“ with
its angular funk riff. One other excellent instance is Moondoc’s composition
“Junka Nu“, which is represented in two variations on the three CDs. Whereas
the monitor begins reasonably hesitantly with Swell virtually hiding behind
Moondoc’s saxophone on the live performance in Marfa/Texas, the pinnacle is offered
rather more crystalline and clear within the second model from the Guelph
Competition. Right here, too, the main focus is on an prolonged solo by Parker, which is
adopted by a drum solo. It appears as if the quartet needs to strip the
composition right down to its bones to show a core on which all the things is
based mostly. Swell and Moondoc rejoin very late, and all the things ends again with
the pinnacle of the start. Behind the pure pleasure of enjoying, a meta-level of
music making turns into seen.

Although this music is nearly twenty years outdated, it pays tribute in a
touching option to what was as soon as referred to as Fireplace Music. Those that love this sort
of virtually conventional Free Jazz will likely be very completely satisfied about this treasure
chest.

For Jemeel – Fireplace from the Street is on the market as a triple CD and as a
obtain. You’ll be able to hearken to the music and purchase it right here:

 

* I need to thank my pal Christoph Mangelsdorf, who supplied me with
some very precious info as to Moondoc’s saxophone fashion.