ERIK FRIEDLANDER
Prowl

Cryptogramophone

Cellist Erik Friedlander’s new disc Prowl evokes something of a Native American vibe, with its title, enigmatic cover art and the tribal percussion-propelled opening track “Howling Circle.” On the other hand, one could just as easily get a far eastern vibe as well, or maybe a Middle Eastern one—it’s all in here. Despite the high energy level present in much of Friedlander and the group’s work here, it is seldom raucous, instead playing like free jazz for people who don’t much like free jazz. But it’s not hard to imagine an adventurous rock listener enjoying this (as long as said listener likes progressive, improvisation-based music that is instrumental).

Friedlander’s cello work is fantastic—alternately percussive and lyrical, and the quartet’s sound has an amazing openness that is a little reminiscent of some of Ornette Coleman or James “Blood” Ulmer’s harmolodic work. The rest of the group (which is known as Topaz, though not billed as such on this CD) consists of Andy Laster on alto saxophone and clarinet, Stomu Takeishi on electric bass and Satoshi Takeishi on percussion. Every member of the group adds to its unique energy and sound. Laster’s work, on both alto sax and clarinet, can scream when necessary, but he’s also capable of seducing the listener with sweeter sounds. For example, his clarinet work is sweet and sonorous on “7th Sister” and cheerful on “Anhinga.” Yet he is able to present a more agitated alto sound on “Rain Bearers” and “Dangerous Game.”

Friedlander produces a variety of sound on his cello as well, from the acidic hyper-bowing of “Howling Circle” to the gorgeous plucked-strings effect on “Anhinga” and the transcendent version of “A Closer Walk With Thee.” This is the best thing for improvisational ‘jazz’ cello since Dave Holland’s Lifecycle recording—and that was solo. In addition, Friedlander writes some beautiful tunes—or really some beautiful melodies and melodic fragments, because although the sheer beauty of some of these tracks will lodge in your skull, you probably won’t be able to walk around the house humming them.

It would be remiss not to mention the absolute perfection of the rhythm section here, either. Brothers Stomu (bass) and Satoshi (percussion) Takeishi are a dream team and keep the energy flowing constantly, allowing Friedlander and Laster to do what they do without worries. But they are no mere side players—listen to Stomu’s right-on bass fills towards the end of “Prowl,” and the snaky drums that Satoshi brings to “Najme.”

So there you have it. For adventurous fans of modern jazz—and that includes those who gravitate towards the ECM aesthetic as well as listeners for whom Ornette never seemed all that outré, and improvisation, Prowl is a must have CD, and in a year that is fast shaping up with impressive music, it sounds like another year-end favorite.