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Downbeat May 1988
The Current Set (Enja 5041) ****
Tradition tends to be a big-picture proposition; discussions of jazz in the
‘80s quickly evoke the earliest innovators at all relevant to the immediate
subject at hand, usually juxtaposed with figures from intervening decades. The
Razor’s Edge and The Current Set suggest, however, that tradition vitally
asserts itself in relatively small increments of time. Dave Holland and Mark
Helias are bassists of the same generation --- Holland’s emergence in
the mid- ‘60s obscures a six-year age difference -- composing for comparatively
stable, pianoless ensembles; a rarity that all but prevents imposition of big-picture
traditionalist constructs, though the shadow of Charles Mingus is inescapable.
Mingus’ influence on Holland has crystallized during the tenure of his
sterling quintet. Especially on The Razor’s Edge, Mingus’ well-honed,
exaltative blues sensibility surfaces in Holland’s solos and ensemble
work, giving him a visceral bite that blends well with his quicksilver virtuosity.
As typified by Holland’s simmering, mid-tempo blues for C.M., which features
an introductory solo that balances pared plaints with the megachops, the Mingus
influence has sharpened Holland’s emotional content. The rap that Holland
produces more notes than music is dead in the water.
The other, arguably more intriguing aspect of the Mingus connections is Holland’s
continued use of former Mingus drummer/vocalist Doug Hammond’s compositions,
which provoke some of the quintets spiciest performances. Pivoting on bright
pungent phrases Brother Ty quickly establishes robin Eubanks as an able replacement
for Julian Priester, as well as prompting Holland’s most overtly Mingus-like
statement of the set. Figit Time has the chiseled intervallic symmetry Holland
favors in his own compositions, jump-starting Steve Coleman, Marvin Smith, and
Holland on a mach-speed romp.
The title piece form Helias’ second album reveals a distinct, if compartmentalized,
Holland influence; its brisk theme has the soaring lines and slip-knotted harmonic
resolutions that are the hallmarks of such Holland chestnuts as Four Winds .
everything on this track --from Greg Osby’s serpentine soprano, to robin
Eubanks (who is a shade more forceful on this date), the resourceful Victor
Lewis (and, speaking of small increments of evolving tradition, compare the
veteran Lewis with Smith, who is in his twenties), and the leader’s woofer-rattling
solo -- is extremely well conceived and executed.
Helias’ eclecticism, however, muddles generalizations about his compositional
tendencies; the remainder of The Current Set ranges from sweltering samba (Greetings
From LC ) to painstaking pointillism (Nuclear One ), with each idiomatic setting
receiving the same level of scrutiny given to the title piece. As is Holland’s
case with Coleman and Kenny Wheeler, Helias benefits form a core of musicians
that give his music a tangible identity -- Tim Berne and Herb Robertson. Their
dovetailing, freebop exchange on Ellipsis paves the way for a blistering Berne
solo, which, except for his own solo on Greetings, is the most vigorous statement
of the set.
Most importantly, Holland and Helias can see the forest for the trees, and the
Razor’s Edge and The Current Set attest that they have a handle on the
big picture of tradition in late-’80s jazz.
Bill Shoemaker
Mark Helias, The Current
Set (Muse) ***1/2
Bassist Mark Helias has developed impeccable new-music credentials in the past
decade; his associations suggest that he is an explorer who can also swing.
For the most part, Helias places greater emphasis on compositional variety and
the diverse strengths of his partners that on specific models (though comparisons
with the Dave Holland quintet are inevitable). He has taken pains, in songs
like the hypnotic waltz “Ellipsis” to avoid hosting a mere blowing
session; he groups the horns in various ways and employs them for frequent support
of the one or two soloists designated to carry each piece. The leaders bell-clear
sound and serene virtuosity work well with drummer Victor Lewis’s spry
patterns and together they buoy the excursions of the others
Jimmy Guterman Boston Phoenix 8/7/87
• Jazz Times April 88
Mark Helias’ The Current Set (enja 5041) is an arresting documentation
of what some of the more musically intrepid New York-based artists are up to.
The program of the bassist-leaders’s compositions is characterized by
steady progress to the precipice. Yet controls are invariably applied lest the
effort go over the edge. Helias’ collaborators, all from the front rank
of young players, are altoists Tim Berne and Greg Osby, trumpet-cornet-flugelhorn
player Herb Robertson, trombonist Robin Eubanks, and drummer Victor Lewis. Nana
Vasconcelos makes a cameo appearance.
W. Royal Stokes
•Washington
Post 9/18/87
On his second outing as a leader, Helias has put together
a terrific band for “The Current Set” -- a young spirited ensemble
that includes Berne, saxophonist Greg Osby, drummer Victor Lewis and trumpeter
Herb Robertson.
What really sets the record apart, though, are the tunes. Beginning with the
album’s title track, it’s obvious that Helias has a real knack for
making a small band -- in this instance a sextet --sound like a big one. Nothing
else on the album is quite as exhilarating as this performance; it features
Osby’s soprano saxophone swinging joyfully over a polyphonic blend of
horns and Lewis’ crisp, insistent rhythms. But the remaining tunes nevertheless
off other pleasures. Among the highlights are “No Passport” a brooding
showcase for Helias’ reverberating tone and Robertson’s muted trumpet,
and “Rebound” a vigorous workout for Berne.