Free Fall-- Western Jazz Quartet

Transcription

1 Log in Sign up 07/01/14 Albums By Free Fall-- Western Jazz Quartet Felix Baumgartner's historic sky jump on October 14, 2012 set records for height (24 miles) and free fall speed (843.6 mph), and the evocative music on this CD is both a tribute to, and a soundtrack for, his daring endeavor. The titles of many of the nine compositions are taken from direct quotes by Baumgartner or his trainer, and the pieces trace his journey from the hot air balloon ascent and anxious moments in the stratosphere to the free fall and final parachuting (another record at 5000 feet) into the desert near Roswell, NM. The composers are saxophonist Andrew Rathbun, pianist Jeremy Siskind, and bassist Tom Knific, who along with drummer Keith Hall comprise the latest incarnation of the Western Jazz Quartet, a resident faculty ensemble of the School of Music at Western Michigan University. The Western Jazz Quartet was formed in 1974 and has performed and toured world wide, while also releasing a number of albums both in the U.S and Europe, none perhaps as fascinating or unique as Free Fall. The ethereal opening of "Lighter than Air" conjures up Baumgartner's rise in the helium balloon, with Siskind's glittering, wondrous piano motifs leading to Rathbun's tenor sax portrayal of the yearningly reflective theme. Sax and piano exchange lyrical passages in seamless and complementary fashion, gradually achieving a sweeping intensity in tandem with Hall's vigorous cymbal sprays. The reprise brings the mood back down to earth, so to speak, although that part of the trip for Baumgartner had not yet even begun. The theme of "Everything is Hostile" is one of trembling elation and determination, and Rathbun's tenor solo is artfully constructed, swirling and jabbing with a truly emotional momentum. Siskind's improv builds tension through his left hand chords as his right creates insistent, slightly dissonant clusters of notes. For "Awe and Remoteness," Siskind's sparse and spaced out chords produce a suspended-in-air aura before he's joined by bass and drums on the pensive melody. His ostinato then bookends Rathbun's soprano interlude, and the pianist's forceful, variegated solo precedes the saxophonist's whirling and hurtling pronouncement. Rathbun's recap evolves into a

2 dramatic finale centering around the returning piano ostinato and Hall's turbulent drum spot. "Claustrophobia" is initiated by a prickly Hall, signaling a convoluted hard boppish head taken in unison by tenor and piano. Rathbun and Hall engage in an exciting one-on-one dialogue before Siskind's entry launches the tenor's heated individual statement. Siskind's own spurting, fractured solo ends suddenly, and an unexpected silent pause in the action only makes the surging reprise that much more effective. (Baumgartner felt claustrophobic in his pressurized suit when training for the event.) "Privileged to Stand Where No One Else Stood Before" contains a soothing melody played by Rathbun's Stan Getz-like tenor, which is succeeded in contrast by a jagged staccato section. Rathbun returns to a lyrical mindset for the start of his compelling solo, one that soon graduates to a gruffer and more volatile presentation. Knific charms in his precisely expressed turn, and Siskind probes deeply into the tune's attractive harmonic structure. The track cleverly reverses its opening, with the boisterous segment now preceding the more placid theme. The 1:32 miniature, "Velocity Unknown," possesses a piano ostinato and melodic character that seem to make it an extension of "Privileged to Stand...". (At mph, Baumgartner was the first ever to break the sound barrier unaided by a vehicle.) The title "Spin So Violent" refers to an uncontrollable and terrifying spin that Baumgartner experienced during the beginning of his free fall. Siskind's circular phrase and classical flourishes represent that title, and his stalking chords propel Rathbun's tempestuous, wailing excursion. The pianist's impressionistic solo morphs into an invigorating, spiraling flight, elevated by Hall's emphatic attack. The soundscape expertly developed by Rathbun and Siskind at the close generates an eerie sense of weightlessness. "Tropopause" is defined as the boundary between the stratosphere above and the atmosphere below, which Baumgartner passed through as he fell to Earth. Siskind's heartfelt piano projects a sense of wonder and relief, and Rathbun repeats the theme with equal sensitivity and profound feeling. His frenetic, deep-throated tenor solo, alongside Hall's slashing drums, resembles a pent-up release, and the reprise a final exhalation. As he neared the ground, Baumgartner activated his parachute to descend into the New Mexico desert, and Siskind's prelude to "Sand, Salt Grass and Sage" suggests his floating to land. The momentous theme itself radiates accomplishment and quiet celebration, and ringing piano figures support an ecstatic Rathbun solo, as well as Knific's thoughtful contribution. The moving theme's revisit serves as a fitting conclusion to this absorbing musical adventure. Add a Comment You need to log in to comment on this article. No account? No problem! Share RSS Report Community Authors View Profile

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