Stop Time

Featuring: Altschul Barry

Musicians on the recording

Barry Altschul - drums
David Izenson - bass
Perry Robinson - clarinet

Recording track list

 

1. Untitled I     12:19
2. Untitled II 6:39 
3. Untitled III 14:29
4. Untitled IV     19:45 

 

NoBusiness Records NBCD 163
Release year - 2023

Credits and release info

  • Recorded October 14, 1978 at 131 Prince St., New York, NY
  • All compositions by Altschul-Izenson-Robinson
  • Original recording produced by Peter Kuhn
  • Re-mastered by Arunas Zujus at MAMAstudio
  • Photos: ©Raymond Ross Archives/CTSIMAGES Cover and Booklet
  • Design: Jeff DiPerna
  • Liner Notes: Ed Hazell
  • Produced by Danas Mikailionis and Ed Hazell

Reviews and articles

 

Ken Waxman - JAZZ WORD

1978 New York live date by three sound architects who never recorded together before or afterwards. Key to the disc is the sympathetic, sophisticated yet strong accents of drummer Barry Altschul (b. 1943), who by that time had perfected the melding of hard bop power with free jazz multiple tempos that he used with everyone from Paul Bley to Anthony Braxton. His associates were David Izenson (1932-1979), famous as a member of Ornette Coleman’s trio and clarinetist Perry Robinson (1938-2018), whose style encompassed elements of folk, Klezmer, abstract and notated music. Robison, who was in groups headed by leaders as diverse as Dave Brubeck and William Parker, unites the four untitled improvisations with melodic trills and flutters, interjected squeaks and circular squeals and miniature reed bites. Izenson’s arco variations are often tinged with melancholy and confidently work up the scale, while his pizzicato work expands with triple stopping pattern. Yet his turns to walking or positioned thumps preserve linear motion along with Altschul’s backbeat. Conventional enough to trade fours with the clarinetist during “Untitled 1”, the drummer turns on percussion razzle dazzle with paradiddles, flashy stokes and fanciful patterning on the last track. But his backbeat aids in connecting the clarinetist’s strained tonguing, clarion twitters and intense flattement away from sharp yelps into responsive swing by the finale. Probably the most telling sequence that confirms the trio’s sound evolution along takes place during the last section of “Untitled 3”. Suddenly Robinson reconfigures tongue stops and slurs become a blues line, accompanied by string strums and drum shuffles. Rhythm blends with reconstitution as reed split tones and doits are interspaced among long-lined flutters and Izenson’s jagged arco swipes that alternate with rhythmic double and triple stopping.

Stop Time -

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