FAB TRIO - History of Jazz in Reverse (2011)

A trio consisting of violin, bass and drums might seem a little thin, but violinist Billy Bang, bassist Joe Fonda and drummer Barry Altschul know a thing or two about this music and their collective effort on this disc combines elements of the intellectual and the physical. The result is, perhaps unsurprisingly, music which appeals in differing measures to both the head and the heart, serving notice of just how infrequently this mix is successfully caught on record.

On one level, the heart comes predominantly from Bang, yet another musician no longer with us and the likes of whom we might never see again. He's in his element on the galumphing swing of "Chan Chan" where, as one, the trio both toys with and nails a groove. Melodically, Bang is all over it like some post-modern Stephane Grappelli, albeit with a sensibility informed by radically different musical priorities.

"One for Don Cherry" captures no little measure of that man's impish spirit, but all three players are only too appreciative of the fact that beneath that quality Don Cherry's work was always marked by singularity of spirit. The music is accordingly wide open, shot through with the sense of things not just merely happening in the moment, but also the sense that every moment counts. Despite this, the music is never urgent for its own sake.

"From Here to There" is a matter of measured progress, building as it does upon Altschul's solo opening, then turning into a frenetic trio workout which retains its coherence. Bang and Fonda are both at their freest, and the result's an example of how far this trio could take the music, even while holding onto its distinct personality.  -  Nic Jones

As he showed on his heart-stopping Vietnam-themed releases, Bang, who lived through the horrors of that war as a teenage recruit, was a tremendously sensitive player. That is in evidence in no uncertain terms here and his passing last year lends an added poignancy. On the ballad ‘For Bea,’ where the violin's boldly sustained, lightly cracked melody has a decidedly Eastern slant, he is intensely moving and the power of his notes is well counterpointed by the discreet rustle and rumble of Altschul's brushes and Fonda's purring bass drone. The performance is a hypnotic caress. While the group is highly effective when playing either straight on the beat swing or whirling modes, they reach their greatest moments of inspiration when they jockey around with the time feel, as is the case with ‘Implications’ where Altschul artfully staggers his stop-startstop percussion against Bang's teasing pizzicato riffs, whose piercing high pitch makes it something of a wild harp gone AWOL from a classical orchestra. A stark re-harmonisation of Compay Segundo's Afro-Cuban staple ‘Chan Chan’ also works well, proving that able musicians can always rescue a piece of music that has frankly suffered from maddening overkill. In a revealing text in the lavishly designed booklet, Altschul makes the point that Bang copped some flak for playing a small axe like a violin on the Bronx streets of his youth. In this stripped down setting the little string instrument makes a mighty, manly impression. Bang is indeed the right word.  -  Kevin Le Gendre / jazzwise.com

It is a travesty of fate—and of the American jazz establishment—that violinist Billy Bang never received the recognition he merited. Hosannas have been sung to him, many of them after he died, but the fact remains that he was kept on the periphery despite an admirable body of work. His virtuosity can be witnessed on recordings like Valve No. 10 (Soul Note, 1991), and Vietnam: The Aftermath (Justin Time, 2001) and Vietnam: Reflections (Justin Time, 2004), which were extensions of his experiences during a war that had a strong emotional impact on him.

Bang made five recordings with drummer Barry Altschul and bassist Joe Fonda as the FAB Trio, which serves both as an acronym and underline of their artistry. The fit is perfect, given that Altschul and Fonda have been vital ingredients in improvised jazz, with Anthony Braxton and Roswell Rudd, and Herb Robertson and Michael Jefry Stevens, respectively.

Given the trio's nature, the expansive "Homeward Bound" is a stylistic exposition of its creativity. Bang gives the melody its due, the haunting strains resonating deeply from the emotional soul of his violin, while Fonda and Altschul thunder against the grain. The ebb and tide of tempo does not escarp from the intuitive journey, and swinging passages find comfortable companions in free-flowing characterization. The passion reverberates and goes around, turning this journey into a resplendent one full of rich hues and impressions.

Bang sets the ambience for "Implications" by plucking the strings of his violin and opening a whole new parallel for improvisation. Intuition is the key, as Altschul and Fonda lock in to the dynamics and set up individual edifices that sustain the sonic landscape. The pulse is stimulated into high gear, a quicksilver manifestation that rides a scorching trail. The switch is seamless, as much appealing in its calm progression as in its incendiary nature.

"For Bea," a ballad written for Beatrice Rivers, saxophonist Sam Rivers's spouse, offers contrast, illumining Bang's distinctively warm and earthy playing. With Fonda and Altschul responding with seminal instinct, the mood is electrifying.

This final recording from Bang is not only testimony to his remarkable prowess, it stands as a cornerstone of music that is consummate and insightful.  -  Jerry D'Souza / allaboutjazz.com

History Of Jazz In Reverse es la sexta grabación del FAB Trio, publicada pocos meses después del fallecimiento de Billy Bang, la “B” del nombre del grupo, que completaban Joe Fonda (contrabajo) y Barry Altschul (batería). Grabada en estudio en 2005, incluye seis improvisaciones, un tema de Billy Bang en homenaje a Don Cherry y una versión de “Chan Chan”, tema de Compay Segundo popularizado a nivel mundial por el Buena Vista Social Club.

Es precisamente la inmersión del grupo en la música cubana la parte menos lograda del disco. Mientras que en el resto de temas el trío hace lo que sabe, en “Chan Chan” hace lo que puede, ya que no son capaces de despegarse y volar a partir de la melodía original. Algo radicalmente distinto a las clases maestras que imparten en el resto sobre cómo construir una improvisación. Lo mismo da que el tema comience con unas notas largas de Billy Bang invitando a incorporarse a sus compañeros (“History Of Jazz In Reverse” o “Homeward Bound”), con una exploración de las diferentes texturas sonoras de sus instrumentos (“Implications”), o en forma de solo (“From Here To There” por Barry Altschul). Los tres músicos terminan buscando y encontrando rápidamente unas melodías muy conseguidas que les permiten lucirse con unos magníficos solos. Mención especial a los homenajes, tres en total, incluidos aquí. La bella improvisación “For Bea” dedicada a la esposa de Sam Rivers, “From the Waters of New Orleans” que recupera el lado más alegre de New Orleans, intentando quizás animar a la ciudad unos meses después de la catástrofe del Katrina, y finalmente “One for Don Cherry”, perfecto homenaje en esencia al mítico trompetista y promulgador de la World Music.  -  Pachi Tapiz / tomajazz.com

Tracks

1. Homeward Bound

2. Implications

3. For Bea

4. From Here To There

5. Chan Chan

6. History Of Jazz In Reverse

7. One For Don Cherry

8. From The Waters Of New Orleans

JOE FONDA  double bass

BARRY ALTSCHUL  drums

BILLY BANG  violin