Angelika Niescier
Chicago Tapes
European alto saxophonist (Poland-born, German resident) Angelika Niescier has often traveled to the US, collaborating the likes of cellist Tomeka Reid, and
a trio with bassist Christopher Tordini and drummer Tyshawn Sorey, to name few. The connection with Reid has also lead to a collaboration with drummer Mike Reed, who serves as the other constant in the two groups that make up this disc.
The first quartet on the set adds an alto foil in Dave Rempis, along with vibraphonist Jason Adasiewicz. The remainder features flutist Nicole Mitchell and bassist Luke Stewart (the one non-Chicago resident, but a worthy addition to the fold). The album switches between groups as it proceeds, maintaining a consistant esprit de corps, while changing up sonically, with some members sitting out as things move.
Niescier and Rempis, each in their own speaker, play in a complementary style, both able to run through a range of brightly toned wails, frantic lines or overtones. In "Great Horned Owl," they interact not so much like nocturnal creatures as a nest of bees, while Adasiewicz plays a slow, resonating melody beneath them. "Rejoice, Disrupt, Resist" features a long-tone theme with both horns moving together before going off, with Niescier delivering a series of lines that alternative sharp clarity and rugged execution. In "Fluxed," Rempis follows her franitc solo with a more restraint, though he eventually adds some incisive overtones. Throughout Adasiewicz's voicings fill up harmonic and foundational space to make sure things never get spare.
With both quartets, some of the shorter tracks could be pure improvisations or built on basic structures. While "Ext. 17" and "Poranek" feel like quick snapshots of sponataneous work, "SAMO (bsqt)," with Mitchell and Stewart, goes through several movements where both qualities come into play. Double stops form the basis of Stewart's taut solo, with some striking alto and flute lines eventually commenting on top. After a more structured interlude, Mitchell playes a melody to complement Niescier's sharp, icy solo, with a climax coming from some punchy drum breaks courtesy of Reed. "Bouncing the Ledge" also features this quartet getting wild with excellent results.
Between the different sonic elements of the two different lineups and their desire to never let one mood settle down, The Chicago Tapes maintains focus to the end, which, in the final moments, feels like a natural pause rather than a finale.
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