(Free Jazz, Modern Jazz) Marty Ehrlich's Rites Quartet (Marty Ehrlich, James Zollar, Hank Roberts, Michael Sarin) - Frog Leg Logic - 2011, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 2 from 29. April 2011
EAC extraction logfile from 24. February 2012, 15:14
Marty Ehrlich's Rites Quartet / Frog Leg Logic
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==== Log checksum 0C5188FB31E5A0F7229E606E7070DC920E66B78EAA756B9ECC4FDBDDDF14B526 ====

REM GENRE Jazz
REM DATE 2011
REM DISCID 710BF507
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PERFORMER "Marty Ehrlich's Rites Quartet"
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Julius Hemphill really has a noble heir in Marty Ehrlich, and the fact that this multi-reed player includes a cellist in his quartet makes us remember Hemphill’s association with the great Abdul Wadud. Ehrlich’s first recording of his Rites Quartet for Clean Feed, “Things Have Got To Change”, contrasted his compositions, both rhythmic and reflective, with never- before recorded pieces by Hemphill. Ehrlich’s new recording with his Rites Quartet, “Frog Leg Logic”, presents a broad canvas of original compositions that further define his concept for this ensemble. The stylistic range of this new CD goes deep in its approach to the post-bop tradition and the Blues, bringing out the exquisite lyricism in Ehrlich’s writing, the timbral associations of the instruments and the improvisational, free-form flights of the soloists. Once more,Marty Ehrlich has in trumpeter James Zollar a contrasting force, and it’s a wonder to hear both in conversation. They push each other further down the road, keeping things alive and moving. Ehrlich reunites with his long-time colleague Hank Roberts on cello, who sounds at times like a third horn, a guitar, a kora, and a voice far off in the wilderness. Roberts combines with drummer Michael Sarin to make a compelling stew of rhythmic energy. “Frog Leg Logic” takes on a sound and direction that is old and new at once. Take the leap and listen. ~ cleanfeed-records.com
The premier of Marty Ehrlich's Rites Quartet, Things Have Got To Change (Clean Feed, 2009), featured the venerable multi-instrumentalist's engaging originals bolstered by a handful of previously unrecorded pieces by his mentor, the late Julius Hemphill (1938-1995). Drawing on Hemphill's seminal work in the St Louis-based Black Artists' Group (BAG), and his innovative writing for the World Saxophone Quartet, Ehrlich has proven to be one of the legendary saxophonist's most ardent devotees, leading Hemphill's self-titled saxophone sextet after his passing. Named after a phrase culled from a poem by James Marshal-founder of the St. Louis-based Human Arts Ensemble (with whom Ehrlich made his recording debut in 1973) - Frog Leg Logic continues to expand upon Hemphill's storied legacy, while offering pertinent examples of the leader's own brand of robust lyricism. The personnel of Ehrlich's Rites Quartet has changed since its first album; Ehrlich and trumpeter James Zollar are joined by veteran cellist Hank Roberts and drummer Michael Sarin, in place of Erik Friedlander and Pheeroan AkLaff, respectively. Ehrlich's commitment to this unconventional instrumental lineup is no coincidence. The Quartet not only mirrors the instrumentation featured on Hemphill's 1972 masterpiece, Dogon A.D. (Mbari), but takes its name from the record's thorny second tune ("Rites"). Ehrlich works subtle variations from this unique formula, conceiving brilliantly contrasting textures between muted brass, diaphanous reeds, sinewy strings and scintillating percussion that transcend obsequious imitation. Bristling with energy, the session opens with the title track and closes with "The Gravedigger's Respite," bracing, hard bop-inflected swingers that highlight the quartet's adroit, muscular interplay - an aspect further emphasized in the circuitous melody of "You Can Beat the Slanted Cards," which exudes a similarly jubilant swing, hemmed by Roberts' elastic pizzicato and Sarin's taut, in-the-pocket grooves. Despite the ebullience of these rousing numbers, the majority of the date largely eschews the funky ardor of the Quartet's debut, reveling instead in a state of bluesy introspection. "Solace" transposes impulsive energy into a sophisticated, chamber-like atmosphere, dominated by Ehrlich's pastoral flute and Zollar's muted horn. "Walk Along the Way" and "My Song" weave balladic understatement into expressionistic tone poems, showcasing the group's ability to sustain a mood, which is revealed in the set's conceptual centerpiece, "Ballade." Unfolding episodically, the blues-tinged lament vacillates through time and tempo shifts with cagey precision, modulating from smoldering testimonial fervor to brisk post-bop angularity, recalling the iconic title cut of Dogon A.D. in sound and spirit. Throughout the soulful meditation, Ehrlich's plangent cadences and Zollar's expressive, plunger-muted vocalizations find earthy concordance in Roberts' percolating fretwork and Sarin's unassuming accents. Released just after International Phonograph Inc.'s acclaimed reissue of Dogon A.D., Frog Leg Logic presents a forward-thinking but reverential variation on an established model, one that not only proves the resilience of Hemphill's visionary concepts, but Ehrlich's merit as a singular composer and improviser of note. ~ troy collins, allaboutjazz.com, january 12, 2012
Frog Leg Logic – последний альбом американского композитора и мультиинструменталиста Марти Элриха, специализирующегося преимущественно на деревянных духовых, выпущенный в конце прошлого года португальским Clean Feed. Это абсолютно новые оригинальные композиции, исполненные в новом же составе. Так, для записи пластинки Эрлих пригласил трубача Джеймса Золлара, чья труба ведёт повествование наряду с его собственными саксами и флейтой, иногда вступая в контрастный диалог, а то и подгоняя один другого. Марти тут воссоединился со своим давним коллегой виолончелистом Хэнком Робертсом, инструмент которого звучит время от времени как третий духовой, гитара, кора, и даже как голос страждущего в пустыне. Всё это разнообразие подчёркивается и несколько урезонивается ненавязчивой ритм-секций, представленной в бэнде барабанщиком Михаилом Зариным. Стилистический диапазон материала через авангардные и модерновые территории уходит глубоко к корням пост-бопа и блюзовым традициям, соединяя изысканную лирику Эрлиха, тембровые ассоциации инструментов и импровизационные, свободные формы полёта творческой фантазии солистов. Таким образом, сабжевое творение с логикой лягушачьего окорочка вобрало в себя звучание и направления, которые являются старыми и новыми одновременно. Один из самых интересных Clean Feed’овских релизов последнего времени. ~ xorosho.com

Marty Ehrlich - alto saxophone, soprano saxophone, flute
James Zollar - trumpet
Hank Roberts - cello
Michael Sarin - drums