JAZZIZ

February 2000
Volume 17 No 2
page 62

ELLERY ESKELIN & HAN BENNlNK
Dissonant Characters (Hatology/Hat Art)

This joyful tussle between American saxophonist Eskelin and Dutch drummer Bennink is serious fun from beginning to end. Foxy veteran Bennink's energy and drive -- absurd, majestic, unremitting, and unforgiving to those who can't keep up -- spurs the younger Eskelin into some of his most formidable playing on record.

At the opening of the title track, Eskelin's whip-smart high notes lash over Bennink's intermittent tintinnabulations, but before they're through, Bennink is clattering away like a collapsing building and Eskelin is bulldozing his way through the rubble with hard, fat wedges of sound and demonic riffing. On "Incontrario," Eskelin's virile surrealism takes many forms: His long, twisting lines might fragment into split tones and flutters or his aggressively swinging phrasing might suddenly deflate into gravelly grunts and faint tones that trail away into thin air.

Bennink's quicksilver strokes roll delightedly with every one of Eskelin's punches. Toward the end of "Olorab = (Barolo)," when Eskelin starts squeaking and trilling and making violent popping sounds with his reed, Bennink rubs his palms against the drum heads, his sticks snicket like possessed knitting needles, and his bass drum drops rude bombs to punctuate the whole circus like affair. The duo shows off their jazz chops on "Brilliant Corners" and "Let's Cool One," goofing around with Monk's ingenious structures in irreverent high style. It's as if they start each tune saying, "Oh yeah, well top this". And both rise to the challenge.

(Available through NorthCountry: Cadence Building, Redwood, NY 13679.)

Ed Hazell

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