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Koncerti ob 30-letnici/30th Anniversary Concerts
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3-CD set imported from Italy! Includes Slakoper, Doline & Tolminski Punt 2.
Despite its many virtues, this 3-CD set only partially surveys Zlatko Kaučič’s music. By concentrating on trios that mainly improvise, the collection bypasses the Slovenian percussionist’s gifts as a composer, which merit mention prior to a discussion of the music at hand. Kaučič has led several large-scale projects that place him in the wake of Steve Lacy’s advents in “lit jazz.” One of them – Vizionarja (2006; Goda) – combine pieces from Lacy’s Vespers with Kaučič originals that also draw from the poems of Blaga Dimitrova; both composers and the poet are well-served by singer Irene Aebi, while a French horn quartet provided a new orchestral facet to Lacy's songs, and reinforced the gravity of Kaučič's. Yet, it is Kaučič’s affinity for Slovenian poet Srečko Kosovel that has inspired his largest canvases. two 2-disc volumes of Zlati Čoln/The Golden Boat (2001; 2004 Splasc(H); in addition to burnished, lyrical writing for the unlikely, thoroughly complementary tandem of Lacy and Paul McCandless, the first volume sifts in piquant passages for madrigals and a string trio, while the second features a string nonet.
Kaučič is a big-picture artist in another respect, one this collection supports well; hailing from the Goriška brda region adjacent to Italy, Kaučič has done much to establish a regional identity for jazz and improvised music through a long history of collaborations, particularly with Italians. While it does not include high-profile artists like singer Saadet Türkös or saxophonist Peter Brötzmann (who respectively play on the second and third discs of the set), the trio with saxophonist Javier Girotto and bassist Salvatore Maiore is the right opener. Their free-flowing set is split between tuneful collective improvisations and themes penned by Kaučič and Girotto, who is equally persuasive whether spooling out long soprano lines or garrulously muscling momentum on baritone. Kaučič and Maiore repeatedly change the rhythmic feel of the music on a dime, giving clean definition to the resulting lyrical lull, loping groove or burst of intensity. Even in its most abstract passages propelled by pad-popping and hand percussion, the music has a refreshing accessibility. Throughout the concert with Türkös, Kaučič and bassist Giovanni Maier underline the singer’s soul-stirring plaints and exclamations with an accumulation of textures and a keen sense for when to let space carry the moment. There is a self-possessed, if not imposing quality to Türkös’ singing that would indicate somewhat restrained ornamentation on the parts of her collaborators; however, Kaučič and Maiore are frequently provocative, commandeering the music at one point with their own vocal banter. Kaučič’s ear for texts are at the core of his encounter with Brötzmann, who brings several horns to the proceedings, and singer Robert Vrčon, whose stentorian baritone evokes the candle-lit recesses of millennium-old basilicas and the fog of the mountain forests. While Brötzmann is given free range and improvises with paint-peeling intensity, his best moments come when he enters antiphonal exchanges with Vrčon, while Kaučič keeps the temperature barely at a simmer. Of the three trios, this is the one that seems best suited to be incorporated into one of Kaučič’s future, large-scale projects. –Bill Shoemaker |
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ARTISTS
Disc One: Javier Girotto (soprano and baritone sax); Salvatore Maiore (bass); Zlatko Kaucic (drums, percussion)Disc Two: Saadet Turkoz (voice); Giovanni Maier (bass); Zlatko Kaucic (ground drums) Disc Three: Peter Brotzmann (tenor and alto saxophone, bass clarinet, clarinet); Zlatko Kaucic (drums, percussion); Robert Vrcon (baritone voice) |
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