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• Cadence Dec 1990
Desert Blue enja (CD 60162)
Helias’ latest marks a decisive shift for the bassist. Moving from more
overtly avant conceptual concerns he here pulls in the reins a bit and seems
to pay tribute to Mingus. The themes and arrangements (the Slickaphonic funk
of “Skin” and the closer notwithstanding have a palpable “beneath
the underdog” flavor. Blues, swing, and edge of classicism and a measured
dose of freedom are the primary ingredients, though the bassist opts for a slightly
less raucous ambiance overall. Ehrlich and Robertson set each other off nicely
given the former’s subtly impassioned yet controlled lyricism and the
latter’s brilliant quilt of backward glancing forward pushing (Louis Armstrong
to Bill Dixon) mannerisms. The aforementioned funk cuts have their pleasures
as well. Anderson takes a buzzing bellowing solo on “Skin” while
the closer provides compositional interest through Helias’ knowing use
of intersecting neo-minimalist lines.
Milo Fine
•The Newpaper
Mark Helias :Desert Blue enja
The Current Set , bassist/composer Mark Helias’ last outing, was a blast
of smart-guy blowing. Structure, sure, but let’s see what’s in the
horn. Or horns: Tim Berne, Robin Eubanks, Herb Robertson and Greg Osby all let
it rip. Taken alone, the record presents Helias as a knowing instrumentalist.
But recent actions from the Pentagon to the MTV programming board have
learned us that the owls are not what they seem. So don’t be surprised
when you listen to Desert Blue (enja), Helias’ latest, and hear a keen
arranger’s date; the ripping is done only when the boss gives the nod.
Its ever-shifting landscape has more girth than its quintet (and sometimes septet)
should allow, but getting the most out of the elements at hand is something
underknowns have to deal with all day long. Mark’s a NYC worker with credentials
--Dewey Redman, Anthony Braxton --whose experience shows up in his writing.
He puts the squeeze on what’s in front of him to come up with a weighty
whole. Romantic interludes, gnarly bop, electric romps --without waxing too
schizoid, he leads his ensembles through a broad turf. And while it stresses
the investigation of myriad sources, it also makes an irrefutable case for focus
-- even while employing a throng of capricious notions. Want to find out what
thinking and playing encompasses right now on the New York jazz scene? Be at
AS220.(Jim MacNie)
•Cashbox Desert Blue enja (R2 79631) 6/16/90
This exceptional bassist is turning into a blue-chip free-bop writer. This features
an excellent cast (Ray Anderson, Anthony Davis, Pheeroan AkLaff, Marty Ehrlich,
Jerome Harris and Herb Robertson) dealing with chewy textures that alternately
rustle and rumble, purr and roar. Rich, witty and fresh.• The
Philadelphia Tribune 6/1/90
Desert Blue enja
Bassist Mark Helias and an all-star septet of modernists -- Ray Anderson, Marty
Ehrlich, and Herb Robertson-- crafted nine gem-like studies of the blues. Not
just gut-bucket or Leadbelly, Chicago or the delta, but blue-bop, blue New Orleans,
avant-funk and blue-intoned free jazz explorations, as well as fractured blues
with a radicalized, staggered beat and dissonant hornwork creating a broken-mirror
image of this earliest American music. For Helias, blues are both ever-present
and a fertile soil to enrich every genre. He has proved his point with a fervent
and inventive offering. This is one of the best of 1990.
Jules Epstein
" Advanced swing from progressive bassist: Nine of Mark Helias originals
are performed here and the results are surprisingly funky and swinging for an
ostensible avant-gardist. Most of the tunes have solid rhythmic foundations
and swing melodically, though in an elliptical manner. Mingus is undoubtedly
an influence on Helias' composing. This is far from either traditional swing
or contemporary smooth jazz and should intrigue adventurous listeners, though
some of it's tricky to dance to."