It seems like hyperbole to suggest that the trio of electric guitarist Bill Frisell, pipe organist Kit Downes, and drummer Andrew Cyrille have opened up a whole new sonic vista, but Breaking the Shell is truly unique. Rarely has any album been more meditative, and rarely, if ever, has this configuration of instruments been on record. It takes a daring mind to conceive of such a thing, but Sun Chung, founder and producer of Red Hook Records, has worked with all three principals on separate recordings for his label and knows they can push the boundaries. This epitomizes Wayne Shorter’s oft-quoted phrase, “… the word jazz means I dare you.” These three were walking into uncharted territory, not knowing what the resulting product would sound like. As you might guess, it’s ethereal, spacey, and ever-changing. You may pick up completely different nuances upon each listen. And, if any album was designed for solitary, concentrated listening, it is this one.
This is conceptual, highly improvised music that takes some getting used to. Yet, just the fact that these three could pull it off is a testament to their musicianship, keen listening, and ability to let go of any preconceived notions. Stepping back a bit, though, accepting that the configuration is unique, the sonic and resulting induced moods resemble several ECM projects and, for this listener, Brandon Ross’s Phantom Station’s Off the End, a highly improvised live recording. Both are so fluid that once you’ve committed to listen, you’ll need to hear it in its entirety, as each track seamlessly segues to the next.
The decision to record at St. Luke in the Fields, Greenwich Village, New York, was not made randomly or just out of convenience. Chung visited over two dozen churches in and around New York City before settling on this church with its English village-like architecture and a meticulously maintained Baroque-style organ. With its 27 stops and 1,670 pipes, the organ required Downes to adapt quickly to its unique characteristics, presenting an infinite range of possibilities. Yet, one would think that the organ sound would dominate the recording when, in fact, it is the least obvious one in the mix, serving mostly as coloring to the leads of Frisell’s guitar or even to Cyrille’s subtle kit work, with its emphasis on cymbal flourishes.
As the album begins with “May 4th”, one gets the sense that the trio is trying to find their footing in this mix of mostly new and reimagined compositions written or co-written by each member. They do succeed in creating an atmospheric vibe. Downes’ “Untitled 23” becomes a bit more tangible with its urban strains before the expansive “Kasai Valles” has the trio shaking off the handcuffs with potent electric guitar and swaths of massive church-like sound from the organ, as the tune grows dense and dark. “EI,” penned by Downes, finds them on more melodic, harmonious turf abetted by guest cellist Lucy Railton and Cyrille’s crafty brushwork. The reverberating, tolling “Southern Body” bears Frisell’s distinctive stamp with Downes’ organ serving almost as a gently whispering wind in the dark forest. The feeling becomes a bit more unsettled in the shifting modes of the percussive Norwegian folk song “Sjung Herte Sjung “ before returning to the varying Frisell-led dynamics of “Two Twins.”
Frisell’s “July 2nd brings flashes of light with its tremolo guitar effects, while “Cypher” has Downes utilizing the pipe organ, much like a synthesizer, to deliver gentle but mysterious waves of what sounds like electronica. It bleeds nicely into Cyrille’s ballad “Proximity,” which features resounding tones from Frisell without any rhythmic momentum, which somehow leaves us in a beautiful, relaxed state as opposed to the earlier unsettled material. The Hungarian folk song closer “Este a Székelyeknél” reinforces those feelings.
Considering the rather daunting circumstances, the album is remarkably cohesive, and will likely lead you, eyes closed, to formulate all kinds of visual imagery. Explore and appreciate
One Response
Yes it’s fucking great.