OREGON
1000 Kilometers
CamJazz
Oregon is a band with a long history and substantial
discography that has helped pioneer the marriage of jazz,
improvisational music in the European classical condition,
and what has come to be known as world music. Three of the
quartet’s members are original, having been together
since 1970, and drummer Mark Walker, the newest member,
has been with the group for a decade. They can perhaps be
most closely compared with early Weather Report, though
Oregon is largely an acoustic band. Not that they’re
averse to technology, as Ralph Towner’s use of synth
guitar and Mark Walker’s synth drums testify.
“Deep Six,” the album’s
opener starts with the groove of Walker and bassist Glenn
Moore, hardly surprising given that it’s Walker’s
composition. But it doesn’t take long for Paul McCandless’
soprano and Towner’s piano to begin sparring, interweaving
their bursts and jabs of melody. Like early Weather Report,
both solo while neither solos—the melodic line drifts
fluidly from one musician to the other. The track also serves
to remind listeners that Towner’s highly individualistic
piano voice is an integral part of the band.
Following the brief Towner/McCandless duet
“From a Dream” is Towner’s “Catching
Up.” Towner’s classical guitar work is as sharp
and beautiful as ever. Oregon’s music is easy on the
ears and may be enjoyable to many listeners who like what
used to be called ‘new age’ music or other ‘light’
fare, but while the textures of Oregon’s sound remain
light, they explore diverse and complex musical ideas and
structures. McCandless even manages to sound light-footed
on bass clarinet, an instrument that general serves as a
darker element in a jazz environment. Late in this track
is Moore’s first solo statement, and again he manages
to take a traditionally ‘heavy’ instrument—double
bass—and make it sound light and airy.
Things remain light on the title track, which
evokes driving on a country rode during a snowfall. Towner’s
piano work has a profound openness and a bit of a gospel
overtone, though it’s certainly not overt or overdone.
This track probably evokes their ECM recordings more than
the rest of the album, and serves as a reminder that Oregon
pioneered this kind of music.
1000 Kilometers includes two group
improvisations that explore the group’s many available
textures well. Sandwhiched between improvisations is Glenn
Moore’s “Back Pocket,” a bass/drum duet
that gets into a nice groove. The disc ends with a reprise
of the title track, a solo piano rendition from Towner that’s
even more introspective than group performance. 1000
Kilometers doesn’t break a lot of new ground,
but it does demonstrate growth for this nearly 40 year old
group, and it stands up well next to their best work. That’s
ample reason to celebrate this release and the continued
collaboration of these musicians.
