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On This Day
(SteepleChase SCCD 31504)
"On This Day reminds me of recordings made by modern jazz players of the post-hard-bop era in a response to free jazz, like the Don Friedman/Atilla Zoller collaboration in the 60's. the musicians here sound like they usually play inside, but for On This Day they eschew preset structures.
Ballou is a fine trumpeter, and his front-line mates Billy Drewes and Tony Malaby are convincing contributors on alto and tenor, respectively (Drewes also doubles on soprano.) Most of their horn lines are relatively straightforward, harmonically, but they make full use of the free framework, allowing their phrasing to go where it will, and there is some excellent interplay. This music has little in common with with that of the most contemporary free-thinkers, through parallels with early Ornette Coleman abound. Bassist Michael Formanek has a big sound and even bigger ears, and drummer Tom Rainney not only drives, colors and dramatizes, he also consistently avoids the obvious, which seems to keep everyone on their toes.
Listeners who believe that free playing is only about angst and catharsis should check out this impressive and engaging outing.
Jazz Times (03/2002)
-Duck Baker
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While Dave Ballou did not make much of an impression as a sideman and sole horn on The Bounce, he shifts gears entirely on On This Day, and in the process offers a solid, lasting, and impressive presence. Ballou, and even more so, the Steeplechase Label, are known for modern mainstream jazz, so i was totally unprepared for and pleasantly surprised by, this completely freely improvised set. Yes, let me repeat myself: This is totally free. There are no melodies, no preconceived structures, and no discussions by the performers in advance about the music to be made. That and of itself,of course, is not a shocking prospect, especially at the turn of the Twenty-first century, and many groups record freely improvised works, which are recorded by a number of labels. It is extraordinary, though, when musicians and labels not accustomed to this style of music produce it in the pure from as it is found here. Now, it is true the rhythm section of drummer Tom Rainey and bassist Michael Formanek have built reputations as versatile players who are comfortable in avant-garde settings. Nevertheless, this is a bold and exciting effort, and most importantly, it is one that largely succeeds. According to Ballou's liners, he let the tape roll, producing two and half hours of music, from which he assembled these tracks. Song titles were later added. There was no editing or splicing. You might even think this was a CIMP production, except that the sound is not as natural. Ballou keeps it interesting with the variety, as combinations of instruments alternate regularly. Ballou's influences would appear to come from Bobby Bradford and Don Cherry, his clipped phrases and aggressive thrusts appealing vibrant. Billy Drewes seems surprisingly comfortable with the context, both on alto and soprano, while Tony Malaby, who has participated in adventurous sessions elsewhere, appears more restrained, less willing to let loose. Tom Rainey is an absolute powerhouse, a superb drummer who keeps things rolling, while Mike Formanek is comfortable with the setting.. In all, this could come as a shocker for those listeners who purchase a CD without realizing how much it deviates from Steeplechase image. Similarly, those who think of the label or the horns as too conservative should be pleasantly surprised by this recording.
Cadenee (02/2002)
-Steven Loewy
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...volition