Moment Returns is Triosk’s first release,
not counting 1+3+1, their recent collaboration
with the Dutch electronica artist Jan Jelinek. That
work conveyed a strong sense of fine-grained distillation
verging on essentialism. The hand of Jelinek was clearly
recognisable in this, but without any corroborative
evidence Triosk’s input was less easy to identify.
Moment Returns supplies the missing data and
confirms that the group are making an intriguing addition
to the small, but growing band of improvisers interested
in the possibilities proffered by digital technologies.
What makes this release particularly interesting is
Triosk’s musical engagement with the heritage
of electronica as much, if not more so, as with the
legacy of jazz. Having said that, if Triosk had only
window-dressed their music with the sort of scratchy
glitch explored by labels such as Mille Plateaux and
~Scape, Moment Returns would be a far less
interesting proposition. Instead they are also clearly
intent on navigating the structures of contemporary
electronic music and exploring how these can be utilised
as flexible formats for improvising. It’s notable
that at the core of Triosk is a traditional jazz trio
format comprising drummer, bass player and pianist (although
in case this review is in danger of overemphasising
the trio’s acoustic instrumentation, it should
be noted that each player is also credited with contributing
loops and Adrian Klumpes also plays Rhodes and synths).
However, it would be difficult to find any common ground
if Triosk were to be compared to legendary forbears
such as the jazz trios of Herbie Nichols and Thelonious
Monk. Both Nichols and Monk were stylistic innovators,
but their rhythm sections – however stellar –
fulfilled more traditional supporting roles. Triosk’s
members make equal contributions to their music. The
example of Bill Evans’ trio with Scott LaFaro
and Paul Motian may be more relevant because of that
group’s relative democracy. Ultimately though
the most relevant precedent in jazz for Moment Returns
is Thelonious Monk’s ‘Round Midnight
which is as much tone poem or sonic mise en scène
as it is a traditional piece of jazz extemporisation.
Triosk’s modus operandi may also prompt the listener
to question what is left once a jazz group ceases improvising
in a traditional melodic/chordal way. The answer may
best be addressed by describing the music the trio produce.
Pianist Adrian Klumpes seldom if ever plays a traditional
solo, but instead explores the role of rhythm maker
and creator of tonescapes alongside his colleagues,
drummer Laurence Pike and bass player Ben ‘Donny’
Waples. Klumpes may create repetitive chordal patterns
or Waples introduce a melodic figure that will be essayed
with relatively little thematic development. A chord
may not be a first step towards improvisation, but instead
it is just as likely to be the cornerstone for a repetitive
rhythm. Any of these elements are just as likely to
be prefigured by Waples or Pike as they might be led
by Klumpes. Laurence Pike’s rhythms are frequently
the focus of attention for their slippery groove or
their gentle support. The resulting music initially
conveys the sense of being produced by a ‘headless’
trio whose soloist has been excised in a fit of radical
editing. Once this state of affairs is recognised and
assimilated, however, it becomes possible to relax and
explore the musical landscape. Texturally, as touched
on above, Moment Returns benefits from the
crunches, glitches and tripping footfalls so extensively
explored by recent generations of laptop-borne explorers.
These elements successfully serve as substitute for
the musical variety of traditional improvisation. It
should be noted that some of these tracks (e.g. Love
Chariot, Re-ignite) are recognisable from
Triosk's earlier 1+3+1.
Moment Returns. What moment, what return? Perhaps
a particular moment whose time, Triosk believes, has
come again. Whether it’s a real time, generally
recognised period is questionable. After listening to
these soundscapes it seems more likely that the title
is a reference to an agglomeration of possibilities:
Joe Meek’s production on Telstar, Telex and the
earlier solo work of Marc Moulin, the Jimmy Giuffre
3, Kirk DeGiorgio’s electronica/jazz hybrids as
well as a slew of contemporary glitch-oriented producers.
There are even occasional hints of the Modern Jazz Quartet
courtesy of the vibes played frequently by Klumpes that
contribute a singular sense of nostalgic resonance,
a connection to decades long gone. These and many other
influences find their place in the warp and weft of
this album. It will be very interesting indeed to see
whether Triosk are able to expand the territorial borders
delineated here. In the meantime Moment Returns
proves to be essential and rewarding listening for anyone
interested in the interzone between electronica and
jazz.
Colin Buttimer
4.2/5 |
