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A newcomer to the creative music scene, bassist Jason Roebke first came to this reviewer's attention on the Y2K release Hornet's Collage (Nuscope) Since moving to Chicago from his previous stomping-ground in Madison, Wisc., Roebke has been steadily working his way into the scene of his new base of operations, and both discs reviewed here were cut in the Windy City. In contrast to the second side, which is under the bassist's leadership and features his originals, the first is a co-op improv trio rounded out by the well-established cornetist and knob tweaker Rob Mazurek, and the talented but little known drummer/percussionist from Vancouver, Dylan van der Schyff. As singular as the eponymously titled recording may be, so is the music. In a little under 48 minutes and through nine tracks, these usually imaginative players try their darndest to connect with each other, and limit themselves mainly to sketching out some very sparse soundscapes with their acoustic and electronic tools. But when they finally manage to find some line of communication, it's only by the end of the eighth piece, and even if they carry it in the mellow mood piece, it seems too little, too late. It would indeed be surprising if these performers had met before this studio date, and this item may well prove a point made by some that the odds of success are far from the best in these kinds of first-time encounters. If there is to be a next time, better luck to you, gentlemen.
In listening to the second release, it appears that Roebke's own trio picks up where the previous left us dangling. There is no doubt at all that the leader's eight originals give focus to the session, but they do not bind the players into stereotypical role plays. There is something akin to Tim Berne's approach here, in that written parts gradually arise towards the end of a group improvisation (the opener "Please" being a good example of that). Drummer Tim Daisy, now occupying that chair in the Vandermark Five, and reedist Aram Shelton (alto and clarinet) ensure that the triangle remains equilateral throughout. Yet, the latter's sax sounds on the flat side, at least in contrast with the leader's in-tune bass (or maybe it's the other way around?...) Conversely, his clarinet is quite warm and mellow. In an interesting role reversal, bass and drums reach a feverish peak on the next to last piece ("Just before it starts"), with a steady four-note ostinato motif on clarinet that moves upwards to its altissimo register, a very gripping moment indeed on this disc. Since all three players are based in the same city, it certainly improves their chances of developing as a unit beyond that of a one-off meeting.
