Recorded a year after The Sign, Moon Water shows definite signs of growth and increased interplay. Once again spontaneous composition makes up a third of the disc, with Dahl contributing six compositions and Andersen two.
Thereís an even stronger sense of immediate form emergent in the group improvisations, most notably on ìEouter et Jouer Iî which, at over 15 minutes, is the centrepiece of the album. Starting from near silence, with Andersen delivering round, in-the-gut low tones and Heral adding subtle textures, Dahl enters gradually. Anderson and Dahl are especially in synch, both building figures that are sometimes in response to the otherís ideas, at other times moving things forward. Heral slowly introduces a slow 4/4 pulse and the whole piece takes on form little-by-little. Lengthy improvisations such as this can often appear aimless, meandering; but while Dahl, Andersen and Heral are clearly on the lookout, there is an underlying sense of purpose.
While the general mood is, like The Sign, impressionistic and contemplative, there are moments of brighter expression. Dahlís uptempo ìEgyptionaryî is based on a simple 7/4 motif, but in the hands of Andersen the ostinato doesnít remain static for long. Dahlís solo is surprisingly aggressive, pounding out close clusters of notes in a Cecil Taylor-like fashion. But eventually the piece returns to the ostinato, this time with Andersen and Dahl holding it down in order to give Heral the most overt drum solo of the set.
The short improvised piece ìRush Brush,î once again, demonstrates Dahlís roots in Jarrett, this time with the kind of open-endedness that was such a large part of Jarrettís work with his American Quartet. This may be free improvisation, but thereís a clear concept, with Dahl book-ending the more adventurous middle section with a consistent, albeit idiosyncratic theme on both sides.
Like ìCrawl Before You Walkî on The Sign, the aptly-titled ìAfter Crawlî is based around Andersen's fast walk and Heralís pulsing cymbal work, albeit more assertive and uptempo this time around. Still, like ìCrawl Before You Walk,î it demonstrates that the trio is not all about lyrical impressionism and has some basis in more conventional jazz tradition.
There is also a stronger allegiance to song form on Moon Water. ìHymneî and ìDisembodied,î both Dahl compositions, have elegantly-stated themes, although on the latter itís Andersen who is the primary voice. ìJoyî could easily come from Jarrettís ë70s European Quartet songbook, again adhering more to strict form and delineated solos. Andersenís ìThe Dayî closes the album off on a gentle note, again with a stronger disposition to structure.
But as much as Moon Water has a clearer definition, and is generally less abstract than its predecessor, it merely demonstrates another side to the trio that is, in fact, wholly consistent. The lyricism of The Sign is taken to further extremes, while the free play becomes even more unfettered yet pointed. Based on Arild Andersenís website, this trio is still a going concern, so hopefully there will be future recordings with which to benchmark the trioís development. - John Kelman
Tracks
01. Ecouter et jouer II (Dahl/Andersen/Heral)
02. Egyptionary (C. Dahl)
03. Passing Throught (C. Dahl)
04. On Song (A. Andersen)
05. Rush Brush (Dahl/Andersen/Heral)
06. Hymne (C. Heral)
07. Eouter et jouer I (Dahl/Andersen/Heral)
08. Disembodied (C. Dahl)
09. After Crawl (Dahl, Andersen/Heral)
10. Moon Water (C. Heral)
11. Joy (C. Dahl)
12. The Day (A. Andersen)
CARSTEN DAHL grand piano, percussion, boomerang sampler
ARILD ANDERSEN double bass
PATRICE HERAL drums, percussion, voice, live electronics
Stunt Records - STUCD 03132 Denmark