Coversations - Bill Payne and Connie Crothers

CONVERSATIONS
Bill Payne/Connie Crothers

The clarinet in jazz seems to go in and out offashion every couple decades. This may be in part because its subtle soundsdon't necessarily fit with the high-volume, over-miked and often heavilyelectronic ensembles of our contemporary music culture; and partly also, Isuspect, because in its understated way the clarinet conveys emotions withdirectness that challenges our desensitized comfort zones.

Never mind. The CD you're holding here is not afashion statement but a sequence of free-improvisation musical dialoguesinviting you to listen in. To do so, you may want to take a minute to minimizethe ambient background noise of your own environment. These twelve"Conversations" tracks, sandwiched between an opening "The Desert and the City"and enigmatic closing "To Be Continued," will repay undistracted and activecontemplation.

Bill Payne is a new voice to this listener, havingworked for more than two decades in circus bands and other jobs outside music,while sustaining his soul and spirit with his musical passion even when thatmeans playing only for himself. He is currently based in Las Vegas. Living andplaying outside the music industry with its land mines of clichÈs and commercialcompromises, he's also been periodically part of the New York "loft"scene-- meaning performances staged mainly in artists' apartments becausecommercial venues aren't interested in taking a chance-- along with hislongtime musical associate Connie Crothers and other determined stalwarts.

Crothers has spoken and written of "moving beyondthe separation of free improvisation from tunes," including a memorable occasionwhen she risked inserting a free-improvisation number in her group's set at atourist-packed Blue Note night club in New York, and got the biggest ovation ofthe evening. Crothers was a student of the legendary Lennie Tristano,whose playing combined the detailed knowledge of melody and "changes" with therigorous avoidance of lapsing into well-worn bebop clichÈs.

In her quartet recordings for this label, Crothershas deepened and extended Lennie Tristano's legacy. More immediately relevanthere, she has specialized in the duet format with its distinctive opportunitiesfor unencumbered communication, recording for example with saxophonist RichardTabnik, guitarist Bud Tristano, and drummers Roger Mancuso and-- way backin 1982, the inaugural recording for the New Artists label-- theimmortal Max Roach.

On the borderline of what's called "jazz" and abroader avant-garde that defies boundaries and labels, Payne and Crothers shareideas, build and extend each other's phrases without getting in each other'sway. Melody arises spontaneously rather than by pre-set structural design,as generally required for larger ensembles. Happily for this listener, this isacoustic music without electronic distortion and distraction.

Bill Payne's range and truly beautiful sound on theclarinet should hold your attention. There's also enough variety in tempo andvolume to sustain interest, but don't expect massive crescendos orcrowd-pleasing effects. It's about playing and listening to and for each other.But when artists of this caliber converse together, there's always a thirdparticipant: you, the hearer. Open your ears, listen in and join.

David Finkel

Musicians:

BILL PAYNE clarinet
CONNIE CROTHERS piano

Record label: New Artists
Catalog # NA1044CD

Produced by Connie Crothers & Bill Payne
Recorded October 13, 14, 16, 2006 in Brooklyn NY

PRICE: $15

THE DESERT AND THE CITY
CONVERSATION #1
CONVERSATION #2
CONVERSATION #3
CONVERSATION #4
CONVERSATION #5
CONVERSATION #6
CONVERSATION #7
CONVERSATION #8
CONVERSATION #9
CONVERSATION #10
CONVERSATION #11
CONVERSATION #12
CONVERSATION #13

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