released January 1, 2010

Reviews

The Wire

Paul Dunmall’s in his pomp at the moment, getting overdue international attention for work with two ‘American’ groups: a double saxophone line-up with the equally pungent Tony Malaby, and a power trio called Profound Sound with Henry Grimes and Andrew Cyrille. This is his home group, recorded at the university of West England in June last year. Matthew Bourne (piano/cello) isn’t the most obvious partner for Dunmall but they work together well, and on the three main spontaneous compositions here create a chemistry subtly different to what Dunmall has with Keith Tippett, Paul Rogers and Tony Levin as Mujician. Dave Kane and Steve Davis wouldn’t fit into that group, one senses, but what they bring is a simplicity of diction and directness of approach that can initially seem cruder, even clumsier than the Rogers/Levin axis, but which over the span reveals a strikingly nuanced approach to rhythm, with lots of subtle internal shifts.


Jazz Journal

One of the most intense sessions I have heard in some while, this starts off diffidently enough, with Kane playing some tentative phrases way up at the top of the bass’s range. Dunmall edges in with smoky toned countermelody, and Davis and Bourne join in with guarded contributions, but soon all four instruments are jockeying for position, elbows akimbo. This sets the pattern for the session. The clear, rich recorded sound ensures that even in the most complex passages of these outstanding improvisations, recorded in concert in Bristol, it is easy to follow the component parts of the collective sound.


Jazzwise

This was reportedly the first time these four musicians played together – but you woulden’t know it. There’s a solidness and depth to the three long improvisations and one brief encore that indicates serious empathy at work. Of course, the three younger LIMA associates, Bourne, Davis and Kane are a working band with their own methods, but the addition of a revered tenor-man who cut his teeth in the spiritually-charged free-jazz revolutions late 1960’s/early 70’s seems to lend this an extra layer of seriousness. In short, this is some heavy free jazz. There’s a sustained energy throughout – even in the more contemplative moments – that gives spontaneous constructions an unflagging sense of coherence, structure and shape. The rhythm section is a constant, boiling presence and Bourne’s urgent stabs and runs turn up the urgency like the flick of a switch. When the third section ‘Black Sun’ finds its way into an abstract swing of headlong forward propulsion, Bourne comping with wide, expansive chords and Dunmall, in full post-Coltrane ecstatic mode, bursting forth with his huge, barrel-chested tone, it’s an utterly exhilarating hairs-on-end moment.


Downtown Music Gallery

The legendary powerful saxophonist Paul Dunmall teams up with the incredibly inventive trio of Bourne/Davis/Kane. The results sound like they have been playing together for years, creating music of great depth and sincerity. Recorded University of West England 22 June 2008. Both the Slam and Duns labels do a fine job of introducing to us the (mostly) British musicians who we might not have heard of yet. It turns out that Matthew Bourne is one of the more prominent UK jazz pianists leading various trios, acoustic & electric, performing solo and even playing broken pianos for a project.
This set was well recorded by Stephen Allan and sounds more like a studio date due to the superb balance and warm sound. Although this is freely improvised, there is an immense empathy between all of the players. Like Dunmall's other quartet Mujician, there is no leader here, all of the players are of equal importance, all are immensely talented, intense performers. Mr. Bourne plays inside the piano to good effect on "Voluntary Expressions" while Kane taps on his bass with his bow and Mr. Davis plays the drums with his hands. The piece builds organically with the utmost suspense as the tension and excitement grows. The quartet weaves an incredibly well connected tapestry that just keeps getting better and better. It seems impossible that this trio hadn't really played together before this, but that is the case. This is another one of those colossal dates that Paul Dunmall excels at, words can't truly match the storm-like force that this quartet erupts into at times. This is what true freedom is all about, moment to moment.