This CD began as a dream gig. Finnish-American guitarist Raoul Bjorkenheim (frequent collaborator with Nicky Skopelitis and Scorch Trio leader) asked NYC's Downtown Music Gallery to pair him up with William Parker, one of the biggest names among bassists in outside jazz, and Hamid Drake, a central figure in the Chicago creative music scene. Bjorkenheim got his wish, and a solid recording resulted.
This disk documents a live improvised show, and one can hear not only songs develop but also the evolution of a group dynamic. Accordingly, the track divisions on most of the disk (entitled "Lithotone I: Parts 1-6") are largely arbitrary, as the playing is continuous across the changes in track displays.
On "Lithotone Part 1", the trio quickly reveals its tendency to shy avoid defaulting to extended sections of blowing over repeated rhythm section motifs. Drake and Parker seem to prefer to give themselves almost as much free-associative space as the traditional lead instrument enjoys. They convey a sense of trying out various rhythmic figures and a willingness to drop one vamp as soon as a better one comes along.
For example, "Part 1" begins with great punchy off-kilter bass lines from Parker. After the drums kick in, Bjorkenheim begins feeling around with angular 1-2 sec figures. Soon the piece becomes jazzier, driven by rapid ride cymbal swinging from Drake. But each familiar pattern soon morphs into something new.
Bjorkenheim, however, is hardly being led around by the nose here. He is a relaxed player who quickly grasps the essence of a groove and finds the way to dance along with it--and sometimes against it. "Part 2" is at first reminiscent of John Scofield's recent trio work, but Bjorkenheim reformats the mood halfway through the track by fading in during Parker's brief solo with some haunting volume pedal work.
Bjorkenheim's default guitar tone is reminiscent of Alvin Lee's (of Ten Years After) and perhaps of Joe Baiza's on his Universal Congress Of releases. But Bjorkenheim can also go toe to toe with more experimental players. He uses a bow to achieve some unusual sounds, as well as a mournful (but not cliché) pedal-steel-like tone during a couple of sections. And fans of guitar heroics may appreciate the saxophonic washes of speedy arpeggios and two-handed tapping during Part 6.
"Lithotone II" closes out the disk, and may be part of a second set at the gig. Bjorkheim is listed as playing Viola da Gimbri (sic) and this instrument apparently allows him to perform bassist duties while Parker takes up the shawm. Bjorkenheim and Drake deliver some exciting freestyle rhythm work during this track. However, the oboe-like shriek of the shawm may strike some listeners as something of an acquired taste.
An album that rewards repeated listening.
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