Yells at Eels is trumpeter Dennis Gonzalez' trio with his sons Stefan and Aaron (drums and bass, respectively), an appealing cross-generational group where the influence is very much in both directions. Issued as a 2-disc set, this release is made up of several studio sessions on one and extracts from a live date in Minneapolis on the other, each featuring some guest musicians. "Pictogram" is the studio set and features substantial contributions from Tim Green (soprano, tenor and bass sax), Scott Bucklin (piano) and Bill Pohl (guitar). Perhaps its Green's tone, but much from this disc has the overall sound of one of those fine, early ECM recordings by Jan Garbarek. The opening cut, "Carol's Rain Song", with its plush, organ-like chords is gentle and accommodating, giving lie to any reputation of Gonzalez as an altogether outside player. Then again, the following track, the quaintly titled "Free Jazz Is Thrash, Asshole", unleashed both Green's bass sax wails and Aaron's unapologetically filthy fuzz bass, a device he uncorks with some regularity. Both young Gonzalez', Stefan in his late teens and Aaron just into his 20's at the time of these recordings, acquit themselves quite well throughout, Aaron's bass especially standing out with extremely imaginative forays that include some fine, rich arco work. The compositions, mostly by Gonzalez senior, are all attractive and expansive, hovering somewhere between the aforementioned Garbarek and riffs seemingly inspired by musicians like Freddie Redd or Kenny Dorham. The studio disc concludes with a three-part tribute to Julius Hemphill that nicely circles around various affinities of the late, great musician, closing with a lovely piece led by the leader's tender trumpet and some delicate fingerings by Pohl.
The live disc adds heavyweights George Cartwright on tenor and Douglas Ewart on sopranino and alto as well as something called a "Ewart turntable didgeridoo". Not surprisingly, the set is a bit looser and less tightly focused than the studio disc, but ends up equally enjoyable, featuring several of the tunes from the previous YAE album, Home. The pieces often contain very catchy grooves; "Nils Petter's Foxtrot", for example, positively trucks along like some oversize, shambling life form sauntering down the boulevard. Cartwright's gritty sax work on this piece is the ideal counterbalance, making sure the edge remains keenly honed. "Home" is a fine, deep dirge, smoky in flavoring while the final piece, "Document for Leo Smith" contains an irresistible melodic line (perhaps more reminiscent of something the late Lester Bowie might have written) propelled along in furious fashion by the kids (that fuzz bass again!). Here, as elsewhere, Gonzalez' own playing is strong, melodious and heartfelt; he should be far better known than he is. It's a fine set that brings back memories of those great old Human Arts Ensemble recordings, but updated significantly. Easily and heartily recommended.
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