CD Review: Barry Altschul's 3Dom Factor - Long Tall Sunshine

Barry Altschul's 3Dom Factor
Long Tall Sunshine

(Not Two) nottwo.com

Of the five tracks on Barry Altschul's latest release, four of them appeared on the debut release by 3Dom Factor. My thoughts on the album can be found here, but for those whose attention is staying on this page, suffice to say it was my favorite album of 2013. A few years later, on their Live at Krakow album, they revisited three of those four tracks and, once again, knocked it out of the time zone. 

Which brings us to Long Tall Sunshine, named for the one composition that is making its debut on disc. In explaining the recurring set list, Altschul has stated that he believes more in "fresh" than "new" ideas that improvisations can create. He also admits being a little lazy. But, hell, when you're playing with the kind of gusto and invention that has always been a part of his work, the lazy factor clearly isn't hampering the music. There's nothing wrong with Altschul (who's just a few months shy of 80, anyway), Jon Irabagon and Joe Fonda taking another swing at "Martin's Stew."

That aforementioned Altschul composition appears at the end of the set, introduced and concluded by the leader's  drum solo. After all these years, he's still unique and dynamic, never totally out, always discovering new ways of making his kit sound fresh and vital. As many times as they might have released "Martin's Stew," this one has its own unique fire, from the way Fonda's bass enters in the wake of the drum solo to the way Irabagon lets loose with a non-stop flurry of tenor lines that seems like he could go for hours and never wane.

Earlier, the group revisits "Irina" with Irabagon switching to clarinet. At first, his attack sounds very close to his sopranino, which he played on the earlier 3Dom Factor version. Here, he puts some brawn into the b-flat instrument, keeping it gentle at the same time. 

In "Be Out S'cool," after a hard driving, elastic solo by Fonda, Irabagon trades his tenor for another another red headed stepchild of the saxophone family - the soprillo. It sounds like a sopranino at double speed (akin to the pitch-riding tricks Frank Zappa performed on Bunk Gardner's horns on Mothers albums like Uncle Meat). Once the initial jolt of the instrument's tone settles, Irabagon uses it for more adventurous tears through the music, highlighted by some rapid tongue action and some reed squeezing that sounds like it creates some high multiphonics. 

On top of being a propulsive drummer and leader, Altschul continues to excel in the composition department. The band's namesake tune, a rapid-but-catchy line among some wild three way chases in the music (some popping harmonics from Fonda, some too-smoochy noises sans mouthpiece from Irabagon), offers a reminder. But "Long Tall Sunshine" also gives the band a grooving AABA form that they devour with enthusiasm that can be felt by listeners. 

The performance features occasional audience applause, although the CD liner doesn't list what audience was lucky to be there that night, or what night it was. Turns out the band forget to document the date of this show. Oh well. It's nice to have a little bit of mystery after all that.