Electronica and post bop jazz from Rob Mazurek and Chad Taylor's Chicago Underground...
Colin Buttimer 2004
The Chicago Underground is made up of core duo cornettist Rob Mazurek and drummer Chad Taylor which augments with guest players to become Trios, Quartets, even an Orchestra. This latest formation welcomes back Noel Kupersmith on bass and computer for a third time. Whatever shape it takes the 'Underground offers up certain characteristics: an engagement with the possibilities of form and of the interaction between acoustic and electronic instrumentation. As a result each track acts as a petri dish experiment, offering up new crystals, colours and shapes whose ultimate definition is uncertain until its conclusion.
Slon is made up of nine pieces;four jazz, three electronic and two which fall between both camps. The more straightahead jazz material is full of busy percussion, racing bass and skating, sliding cornet. They're exemplarymodels of trio interaction, their nature all the more easily savoured for being set among other forms. Shared with the other tracks but more noticeable here is a sophisticated, modernist commitment found in certain late '60s jazz (think Miles Davis' ESP, Wayne Shorter's The Soothsayer).
The title track and "Palermo" present electronic soundscapes full of blips and stutters, the silver sound of spoons and a humming that could be the sound of muted, slightly exhausted wisdom. Here the Underground has shapeshifted, leaving little or no trace of the acoustic trio behind.
"Protest" places Mazurek at a distance, as though recorded just over the threshold of another room. Gradually strings encroach, playing at a different tempo and seemingly to a different tune. It's a seditious process of subtly mounting confusion which causes a degree of probably deliberate uncertainty: what part of the music to focus on? It's as though two transparencies placed atop each other but a little askew, were gradually being aligned. Cornets multiply, playing in different styles, then basses reproduce to form an armada. Eventually the pace slows and "Protest" draws to its end.
"Zagreb" starts with muted roaring sounds - as if one were listening to distant, inhuman magic. After three minutes or so, the acoustic trio begin to play in reflective mode and shortly afterwards the ambient sounds fade out. There's perhaps an identifiable Chicago Underground specialism here - the spare, elegiac feel, a melody that one could find oneself humming the next day. The structure of the piece is simple, but profound, and the results are both wonderfully mysterious and meditative.
Mazurek and Taylor have one eye on beauty which, when discovered, is distilled into music of rare clarity and pleasure.