Bassist Ben Allison and members of the Jazz Composers Collective (who are best known for the Herbie Nichols Project) on this set perform eight of the bassist's originals. The music is post-bop and sometimes leaning a little toward sound explorations. However, there are also plenty of swinging moments to be heard along the way, for these are well-rounded and versatile musicians. In addition to Allison, the septet has Michael Blake and Ted Nash on reeds, trumpeter Ron Horton, pianist Frank Kimbrough, cellist Tomas Ulrich, and drummer Jeff Ballard. The adventurous music should be heard several times in order to be fully appreciated; it is worth the effort. - Scott Yanow
Ben Allison asserts: "The Medicine Wheel is a mirror in which the universe is reflected. Any idea, person or object can be such a mirror". Derived from North American Indian beliefs Allison's somewhat mystical approach adheres to the overall attitude behind his music and the band's execution. The Septet aptly called "Medicine Wheel" is a conglomerate of "new jazz" musicians who yearn for new sounds and ideas while extending the capabilities of their respective musical instruments.
Medicine Wheel is: Ben Allison (bass, leader, composer); Michael Blake (saxophones); Ted Nash (saxophones, flute); Tomas Ulrich (cello); Jeff Ballard (drums); Frank Kimbrough (piano, prepared piano) and Ron Horton (trumpet). Ben Allison has been living the dream of most modern day jazz musicians: Leader of the Jazz Composer's Collective, Educator, Institutional Faculty Member, Band Leader et al. In the liner notes, the band "Medicine Wheel" is cited as being a "think tank". This conceptual "think tank" represents a consortium of skilled musicians who seek to expand their collective musical vocabularies. Medicine Wheel is not quite as cerebral in scope and intent as one might surmise. Overall, the music is prone to appear deep, multicolored, vigorous, and at times unorthodox; yet, the scope and vision of the entire listening experience yields many rewards. The opening cut "Spy" is a melodic treat which features a nice memorable hook summoning thoughts of famed 1960's Blue Note sessions. It doesn't end there. Just when you feel a sense of comfort and familiarity, the song transcends into an ethereal "world music" type vamp with some illuminating sax and flute work from Blake and Nash. "Spy" evokes images of a magical, solemn existence and the theme is restated with added nuance from cellist Ulrich. "Spy" is one of the finest original jazz compositions this reviewer has heard in some time. Musicians take notice, "Spy" may represent an opportunistic vehicle for an expansive cover tune. "Buzz" emits the sensation of vast openness and at times borders on free jazz ;however, the rhythm section is the glue that dissuades the proceedings from veering off into a free-jazz romp. Not a bad thing of course but further evidence of Medicine Wheel's subliminal suggestive powers. Allison's compositions are thoroughly enjoyable and in many instances contain the crafty element of surprise. "Buzz" also incorporates a nifty percussion sequence accented by spiritual, soaring saxophones. "Quirky Dungeon" goes for the jugular utilizing a straight ahead in your face rock beat which serves as a vehicle for cellist Ulrich to strut his "cello" stuff. Ulrich attacks his cello as if he were possessed by demons or trapped in a "bat cave" as Allison suggests in the liners. "Tiny C" ends the recording with a Basie-ish piano introduction by pianist Frank Kimbrough and is augmented by a clever horn arrangement.
Ben Allison is a prolific composer, solid bassist and a musician with focus. Medicine Wheel (the band) is a perfect vehicle for Allison's futuristic yet accessible musical statements. This is a major work that demands attention ! - Medicine Wheel
Bassist Ben Allison was a virtual unknown when this album was originally released by Palmetto in 1998. After Seven Arrows (Koch, 1996), this was Allison's first major release. Combining conservatory training, ethnic/world music fusions, post-bop energy and free-jazz vigor, Allison and company were on the cusp of a new movement. Listening to this recording in retrospect reveals a blueprint for the new breed of jazz improviser. Medicine Wheel is a watershed moment in end of the century East Coast jazz.
The personnel list reveals a virtual who's who of emerging talent. Saxophonists Ted Nash and Michael Blake have become leaders in their own right, each with impressive discographies. Here they dovetail around one another, trading licks that drift from melodious, soulful beauty to raw, acerbic fervency. By adding repeated multiphonic glisses and altissimo variations to conventional melodic phrases, they generate a new lyricism on tunes like "Mousetrap" and "Buzz." Their flirtation with free jazz always suits the music at hand, bolstering its catchy melodies and stalwart rhythms.
Trumpeter Ron Horton has gone on to greater acclaim as well; his explorations into the untapped potential of the Third Stream movement have provided a bounty of magnificent music. His kaleidoscopic playing is on full display here, from smeary, gutbucket rasberries on "Blabbermouth" to fragile, euphonious variations on "Apostles of the Ugly." Pianist Frank Kimbrough has become one of today's finest melodicists, and his solo on "Apostles of the Ugly" exemplifies his delicate touch.
Jeff Ballard is a fiendish drummer who continues to accompany Allison on his forays. His variations on "Buzz" veer from clattering ethnic polyrhythms and straight-ahead bebop to scintillating free jazz cymbal thrashing. Only cellist Tomas Ulrich seems to have missed out on greater exposure. His multi-hued Hendrixian solo on "Quirky Dungeon" proves him every bit as creative a soloist as Erik Friedlander or Fred Lonberg-Holm.
Allison's universe is accessible, but subtly adventurous. Trafficking in attractive melodies, pleasing harmonies, danceable rhythms and impressive group interaction, Allison's sonic architecture builds from some seemingly unconventional materials. Whether adding seed pods to his upright bass on "Buzz" or preparing Kimbrough's piano with coins and fishing line on "Spy," all this investigation of extended techniques and augmentation is in the service of solid melodic hooks and robust rhythms, never either frivolous or decorative.
Although this new reissue lacks remastering or bonus tracks, it still warrants attention. A five-star album, Medicine Wheel is a landmark of late-1990s postmodern jazz. From here on, pedestrian, ironic cut and paste structures gave way to the seamless integration of divergent genres through advanced composition. For Allison, this is a seminal record, both as a composer and an improviser, and one from which he continues to draw inspiration. - Troy Collins
Tracks
1. Spy
2. Mousetrap
3. Buzz
4. Apostles Of The Ugly
5. Blabbermouth
6. Spy (Detail)
7. Quirky Dungeon
8. Tiny C
BEN ALLISON bass, guitar
TOMAS ULRICH cello
JEFF BALLARD drums, percussion
FRANK KIMBROUGH piano, prepared piano, toy piano
MICHAEL BLAKE soprano & tenor saxophones, flute
TED NASH saxophone, flute
RON HORTON trumpet, flugelhorn
All compositions by Ben Allison
Palmetto Records – PM2038