DownBeat March 1997
Ellery Eskelin
The Sun Died (Soul Note 121282) ****
Jazz Trash (Songlines 1506) ***1/2
You tend to associate Ellery Eskelin with small groups and open structures where the
tenor saxophonists is free to explore and develop his ideas at length. At first,
Eskelin's choice of Gene "Jug" Ammons as the subject of his tribute The Sun Died
seems improbable. Despite widespread reexamination and recreation of the styles
of the '50s and '60s, Ammon's once-popular brew of r&b/soul/jazz is rarely cited
today. On The Sun Died
, Eskelin demonstrates an expansive, soulful sound on tenor, well suited to Ammons
vehicles like the rowdy "Twistin' The Jug." If the wailing soulster is an uncharacteristic
role for Eskelin, he plays it beautifully, pleading on the title track and testifying with fervor on "The Light". Finding a middle ground between freedom and r&b,
the saxophonist achieves a stylistic synthesis you'd expect from Joe Lovano or David
Murray.
Eskelin wisely avoids the trap of mimicking an Ammons session. In this update of the
Ammons gospel, guitarist Marc Ribot contributes a striking performance, by turns
funky, coarse and dissonant, The Sun Died
challenges expectations, requiring a reconsideration of Eskelin as well as Ammons.
Jazz Trash
presents Eskelin playing originals with his working trio, featuring Andrea Parkins'
radical approach to accordion. Eskelin establishes tumbling, somewhat convoluted
themes, shadowed by Parkins, before setting out on his own. In this format, his stamina
and range on tenor are great assets. Parkins fills multiple roles, sometimes playing
counterpoint to Eskelin's tenor, acting as a second horn, or adding drones and textures.
This is an egalitarian trio, with equal weight given to the contributions of Eskelin, Parkins and drummer Jim Black. Some tunes appear to take shape only through improvisation,
and the more structured tracks, like the Kurt Weill-influenced "100 Days" or the
urgent "Trip Wire" are the most cohesive and impressive. Jazz Trash
may be less approachable than The Sun Died,
but it offers more in the way of unfettered improvisation.
-Jon Andrews
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