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Michael Vlatkovich Ensemblio - 2015 - Mortality (FLAC, pfMENTUM 91)

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Music : Jazz : Lossless
      

pfMENTUM CD091.

1. Adeptly Disguised As Chairs And Tables The Audience Listened Quietly 9:08
2.
As Quickly As It Came 6:31
3. Or Do You Have Change For A $20 5:25
4. Out Of The Wall And Into The Night
5:27
5. Sometimes A Red Nose And Big Shoes Aren’t Enough 2:33
6. Mortality 11:32
7. Hiding Out As
A Verb 5:49
8. Goodbye 7:06

Music composed M. Vlatkovich

Recorded 2014 Wayne Peet Engineer
Edited mixed and mastered Sept. 2014

Front photo Chuck Britt
Back photo Bill Roper
Design Jeff
Kaiser

Ensemblio:
Michael Vlatkovich: trombone
Dan Clucas: trumpet
Jill
Torberson: french horn
Bill Plake: tenor sax
David Riddles: bassoon, flute, soprano sax,
clarinet
Andrew Pask: alto sax, bari sax, bass clarinet
Bill Roper: tuba, bombardondino
Harry Scorzo: violin
Jonathan Golove: cello
Tom McNalley: guitar
Dominic
Genova: bass
Wayne Peet: piano, keyboard
Carol Sawyer: voice
Ken Park: all
percussion

Wow. Where to start? Apropos of its title, Mortality is huge. Vast. Complex. Quixotic. Musically,
it's a mega-ambitious work that fuses operatic vocals, several styles of jazz, heavily-scored contemporary classical
music and flat-out improvisational wailing in the most appealing ways possible. Interestingly, Michael Vlatkovich, a
West Coast trombone virtuoso and composer / improvisor of considerable merit, is a guy who devotes considerable time to
small group projects of various types—most notably tenor saxophonist Rich Halley's quartet—plus his own
septet with Ron Miles, and a quartet with guitarist Tom McNalley. Yet, Vlatkovich's large ensemble projects, though few
and far between, are always risky, grandly adventurous and eclectic to a fault. Transvalue Book III, (Thank You Records,
2008), for example, is an insane mashup of spoken word and avant-jazz-rock fusion for 15 instrumentalists and 10
vocalists. As in much of Vlatkovich's music, dark humor frequently bubbles up close to its surfaces, but it's also an
eminently listenable and inspiring musical experience that I've returned to on many occasions. Mortality is similar,
only without the spoken word. Like the entire Transvalue series, Mortality is ambitious, multi-layered and simply dares
the listener to let it recede into the background. 
Listening to the intricacies of this music, the blazing
improvisations, the razor-sharp orchestrations, and the forward- leaning élan of the rhythm section, I was happily
reminded of Frank Zappa's large-scale jazz-rock albums such as The Grand Wazoo (Reprise Records, 1972), Them or Us
(Barking Pumpkin Records, 1984), and Make a Jazz Noise Here (Zappa Records, 1991). Though I am not sure how Vlatkovich
feels about Frank Zappa, both "Adeptly disguised as chairs and tables the audience listened quietly" and the
title track contain some sly references to Zappa's more avant-garde compositional efforts: convoluted, rhythmically
complex tutti horn parts suspended over buzzing snare drums and ringing mallet percussion, prominent clarinet, bassoon
and operatic vocals, and ensemble improvisations interrupted by seemingly random interjections of tambourine, woodblocks
and all manner of small percussion. Yet, on the title track, in between the ensemble passages, we hear lush, expansive
unaccompanied improvisations from cellist Jonathan Golove, trumpeter Dan Clucas, and tenor saxophonist Bill Plake.
Elsewhere, Vlatkovich breaks the ensemble down into smaller sections to support his own sparkling improvisations, or
those of Plake, McNalley (who really shines on the album's first track), pianist Wayne Peet and bassist Dominic Genova.

There's plenty of other stuff going on here that doesn't sound like Frank Zappa. "Hiding out as a verb"
pits strings against horns over a crazy stop-start rhythm. Blazing horn improvisations (most notably by alto saxophonist
Andrew Pask) sail over the top of the action, adding further tension to an already tense situation. There are numerous
respites from this crazy intensity. Bassoon, voice, strings, and clarinet figure prominently on the sweet-and-sour
"As quickly as it came," which sounds a little like a movie soundtrack before slowly morphing into something
closer to 20th Century avant-garde chamber music. "Sometimes a red nose and big shoes aren't enough" is a
mournful chamber piece that conceals a small, but crucial, piano melody. Vlatkovich the trombonist steps out on
"Goodbye," a stark and simple duet with Peet that ends this bustling beehive of an album on an oddly
introspective note. - Dave Wayne, All About Jazz                                                            Show Demonoid some love
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