(Free Improvisation, Free Jazz) Rob Brown Quartet - The Big Picture - 2004, FLAC (tracks+.cue), lossless

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 29. June 2011, 22:48
Rob Brown Quartet / The Big Picture
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REM GENRE "Free/Avant Jazz"
REM DATE 2003
REM DISCID 540ECC06
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Rob Brown Quartet"
TITLE "The Big Picture"
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Although Rob Brown's early recordings as a leader were highly energetic, free-blowing affairs, he's gravitated in recent years toward a refinement of his compositional approach, particularly in his writing for quartet. Yet for someone with Brown's tremendous talent and knack for surrounding himself with similarly gifted collaborators, the recorded output under his name has infrequently transcended the sum of its parts. However, his latest release on the Paris-based Marge label dispels that feeling in one fell swoop of eloquence, as Brown teams up with trumpeter Roy Campbell and the intuitive rhythm section of William Parker and Hamid Drake for The Big Picture.
The extent of Brown's triumph is immediately obvious on "Dawning", which is not only one of the most graceful themes in his discography, but it also brings out a deeper melodicism in his alto playing as Parker loosely defines the tune's harmonic parameters. That sentiment carries through the session, particularly in the two slower-paced pieces, "Wyoming Song" and "Blues Thicket", the latter of which is a feature for Brown's masterful flute work. Yet there's no shortage of fiery episodes whatsoever, as Brown takes advantage of Campbell's absence on "Trio Unsprung" to blow profoundly over the rhythm team's elemental swing, engages with Drake in the thrilling duo section of "Islands of Space", and leads the entire quartet to freebop nirvana on the closing "Legroom".
It's also worth mentioning that Campbell's contributions to this session are remarkable as ever. He's one of the few trumpeters who embrace the instrument's unruly lowest register; his solo on "Islands of Space" provides all the evidence necessary to show his command of the horn's buzzing, valve trombone-like nether region. And his relationship with Brown has quickly developed into a state of telepathic correspondence, whether it's the saxophonist plucking out choice phrases of Campbell's solo and volleying them back into play on "Wyoming Song", or Campbell altering his flugelhorn lines to blend in with Brown's flute on "Blues Thicket" until the unison passages sound like they're emanating from some mutant chord-enabled horn.
But this disc's greatest success is the way in which Brown has finally reconciled the polarities of structure and freedom in his music. Where in the past his compositions have been well put together but almost too rigorously adhered to, the outcome here is fluidity incarnate. Although it would be easy to attribute it to the Parker-Drake rhythm section's seemingly incontrovertible magic, the developmental traces on Brown's previous recordings are far too apparent to deny—making The Big Picture a most significant achievement that will hopefully be looked back upon as a major transitional point in future evaluations of his work.

Rob Brown's Big Picture Quartet includes William Parker, Hamid Drake, and Roy Campbell, the band responsible for the sublime Raining on the Moon with Lena Conquest, recorded as the William Parker Quartet, as well as playing together in different configurations yielding some of the most vital and essential recordings of the last decade. In the grand jazz band tradition (think Sonny Greer and his Memphis Men), the music's flavor and quality maintains whoever's name shuffles forward. These four veteran collaborators create their signature sound of abundant grace, heartbreaking beauty, and righteous swing bleeding blues.
A smart, brisk Brown and Campbell duet settles into "Dawning," followed with a solidly crafted Parker/Drake duet laying the song's foundation. Brown and Campbell double the mellow theme with some harmonies, then Brown reveals the tune's possibilities with Parker stoic and Drake tastefully busy in time. After Brown's sweet toned song, Campbell's dry trumpet turns the ear piquant. He navigates the minors low and soulful building a ladder to the sky. Parker casually digs into the wood with his propulsive plucks, stepping back for Drake's sleight of hand.
The genie comes out of the bottle on "Islands of Space," introduced by a Drake drum display leading to an Ornetteish theme, then a Brown duet with Drake that at one point recalls Coltrane and Ali's Interstellar Space. Parker and Campbell mix it up with them, then Brown drops out so the remaining trio can romp as one. As 4 am bluesy a ballad as you'll hear, "Wyoming Song" has Brown and Campbell in tight arrangement before an improvised conversation. Campbell takes over with Parker walking, then Brown rejoins. Campbell and Drake sit back and listen to Parker and Brown unfold an extended golden interlude.
Back in the fast lane for "Trio Unsprung," without Campbell as the title implies. Brown gets a chance to stretch out tell some of what he knows with Drake and Parker working overtime. Parker pulls the bow for his solo, and Drake keeps the plane at cruising altitude. Brown dusts off his unique flute tone for "Blues Thicket," engaging Campbell in the moody ballad. Finishing with a bang, "Legroom" begins fitfully, but Brown blows through with Drake and Parker bringing plenty of gas to the firestorm. Campbell allows no letup on his watch, going high and outside before everyone drops out to let Parker get nasty.

A release from Marge Records based in Paris gives us THE BIG PICTURE by the Rob Brown Quartet. The quartet is made up of Rob Brown on alto and flute, Roy Campbell on pocket trumpet, trumpet and flugelhorn, William Parker on bass and Hamid Drake on drums.
Brown composed all the pieces for this recording. The pieces have a thematic consistent statement, the evolution of which can be determined by careful listening. From the first to the last track are steps from "A" to "B", which as a matter of fact, do not make up a straight line....musically or conceptually.
Brown plays his alto with a straightforwardness that manifests confidence in his improvisation and steadfast belief in the melodic aggregate of notes out of which the improvisation moves. Even when he puts down the alto and picks up the flute, the move fits. Brown is extremely adept at playing both the alto and the flute. His expertise on the alto is securely evident. The range he executes in the ascent and descent of notes in an overlapping fashion invigorates his ability to scatter coherently single phrases on the horn which decorate the core of his themes. The flute sets the theme in one of Brown's compositions which includes the flugelhorn as a heavier underpinning to the lightness of the flute.
Campbell intersects the alto lines with both trumpet and pocket trumpet lines, often to coincide in unison and then to offshoot in individual sets of phrases. Campbell can valve the hell out of his horn, especially when he plays the pocket trumpet. The tune is exposed tightly, in control, no slips. At times, however, when he plays the trumpet, it seems that the sound is going slightly astray but is brought back in by the rhythmic content of the group’s resolutions and finishes.
The rhythm section speaks with nothing other than precision. All of a sudden the bass or the drums rise to the top in solo forms but most of all are the strong support and glue for the mass of the music. Parker and Drake seem to be almost one word that equals the pulse, the skeleton, the foundation of a group. In this group, they certainly act that way. Yet, they never overwhelm the main process which is the curvature of the melodies and the charge of the improvisation.
This recording proves that The Big Picture can only be seen when the parts have been experienced. These parts allow a mirror vision of oneself as being small in comparison to the whole. When this concept is realized and internalized, what is done with it becomes a manifestation of a purpose in life...a calling. Playing music is the calling of this quartet. Rob Brown brings it together for this chance.

Rob Brown - alto saxophone & flute
Roy Campbell - trumpet, pocket trumpet & flugelhorn
William Parker - bass
Hamid Drake - drums