TIM BERNE'S SNAKE OIL - You've Been Watching Me
ECM 472 2298
Tim Berne (alto saxophone); Oscar Noriega (clarinet, bass clarinet); Ryan Ferreira (electric & acoustic guitar); Matt Mitchell (piano, electronics); Ches Smith (drums, vibes, percussion, timpani)
Recorded December 2014
Over the last thirty or so, altoist Tim Berne has been a restless innovator, continuously looking for new formats and instrumental combination in which to present his powerful compositions. After nearly a decade of live recordings, the saxophonist made a return to the studio and presented a new band in Snakeoil with the 2012 ECM release Shadow Man. Once again returning to the same studio in late 2014 Berne follows this up with You've Been Watching Me, but as is his wont, refuses to keep still and presents an entirely different beast, albeit whilst retaining the core line-up form the earlier recording.
To the Snakeoil line-up, Berne has once again looked to expand the dynamic and tonal palette of the group, enlisting the services of guitarist Ryan Ferreira. To mix things up even further, pianist Matt Mitchell weaves some ambient electronics into the ensemble sound, whilst Ches Smith is can be heard on vibes almost as frequently as drums bringing a new harmonic sensibility to proceedings.
The result of adding new instrumental textures in no way diminishes the rapport that made the Shadow Man set such a success, but paradoxically the addition of a fifth person brings a stronger sense of unity and purpose; the new voice seemingly putting all on their mettle and producing a collective performance that is monumental in terms of the range and scope of the music conjured up from Berne's compositions.
Despite the sometimes raucous intensity of the music, there is never a feeling that things are rushed. If the group play very loud at times, there is also a sense of calm and quietness that permeates the music. With four of the pieces exceeding the ten minute mark, the participants are permitted to explore the intricacies of the the altoist's writing to the full.
Much is made of the ensemble as a whole, with the emphasis veering away from the individual soloist to splinter groups of duos and trios gathering to collectively improvise within the framework sketched out for them. It is in this way that Ferreira so successfully incorporates himself in the previously established group sound by adopting the role of orchestrator adding his distinctive guitar voicings into the fabric of the ensemble sound.
In building on the collective successes and strengths of the Snakoil quartet, and bringing in components that bring additional depth and vision to his music, Tim Berne has again produced an album that shows not how far he come but how far he still has to go, and hints and what is to follow.
Reviewed by Nick Lea
ECM 472 2298
Tim Berne (alto saxophone); Oscar Noriega (clarinet, bass clarinet); Ryan Ferreira (electric & acoustic guitar); Matt Mitchell (piano, electronics); Ches Smith (drums, vibes, percussion, timpani)
Recorded December 2014
Over the last thirty or so, altoist Tim Berne has been a restless innovator, continuously looking for new formats and instrumental combination in which to present his powerful compositions. After nearly a decade of live recordings, the saxophonist made a return to the studio and presented a new band in Snakeoil with the 2012 ECM release Shadow Man. Once again returning to the same studio in late 2014 Berne follows this up with You've Been Watching Me, but as is his wont, refuses to keep still and presents an entirely different beast, albeit whilst retaining the core line-up form the earlier recording.
To the Snakeoil line-up, Berne has once again looked to expand the dynamic and tonal palette of the group, enlisting the services of guitarist Ryan Ferreira. To mix things up even further, pianist Matt Mitchell weaves some ambient electronics into the ensemble sound, whilst Ches Smith is can be heard on vibes almost as frequently as drums bringing a new harmonic sensibility to proceedings.
The result of adding new instrumental textures in no way diminishes the rapport that made the Shadow Man set such a success, but paradoxically the addition of a fifth person brings a stronger sense of unity and purpose; the new voice seemingly putting all on their mettle and producing a collective performance that is monumental in terms of the range and scope of the music conjured up from Berne's compositions.
Despite the sometimes raucous intensity of the music, there is never a feeling that things are rushed. If the group play very loud at times, there is also a sense of calm and quietness that permeates the music. With four of the pieces exceeding the ten minute mark, the participants are permitted to explore the intricacies of the the altoist's writing to the full.
Much is made of the ensemble as a whole, with the emphasis veering away from the individual soloist to splinter groups of duos and trios gathering to collectively improvise within the framework sketched out for them. It is in this way that Ferreira so successfully incorporates himself in the previously established group sound by adopting the role of orchestrator adding his distinctive guitar voicings into the fabric of the ensemble sound.
In building on the collective successes and strengths of the Snakoil quartet, and bringing in components that bring additional depth and vision to his music, Tim Berne has again produced an album that shows not how far he come but how far he still has to go, and hints and what is to follow.
Reviewed by Nick Lea
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