Label: Constellation Records, 2019
Personnel - Matana Roberts: alto saxophone, clarinet, spoken word, vocals; Hannah Marcus: guitars, fiddle, accordion; Sam Shalabi: electric guitar, oud; Nicolas Caloia: bass; Ryan Sawyer: drumset, vibraphone, jaw harp, bells + guests - Steve Swell: trombone; Ryan White: vibraphone.
The originality of saxophonist/composer Matana Roberts is on display in the fourth chapter of her work-in-progress Coin Coin project, a musical exploration of history, memory and ancestry. Memphis is a fierce manifesto delivered with true vision and spiritual force; a voyage through time into the mystical American roots, where invocations of African spirituals, the blues, gospel hymns, and folk music, are essential elements of contemporary experimentations grounded in the avant-garde and free jazz genres.
After the solo effort that was chapter three, this new installment features a distinguished cast of musicians that project a lot of direct passion and energy into our hearts, including new polyvalent collaborators Hanna Marcus (guitars, fiddle and accordion) and Ryan Sawyer (drums, vibraphone, jaw harp, bells). Explorative guitarist/oud player Sam Shalabi and double bassist Nicolas Caloia, both hailing from Montreal, round out a powerful core quintet that is sporadically augmented with special guests.
The opening number, “Jewels of the Sky: Inscription”, sets the tone with deep, meditative chants and illuminated sax prayers stepping on a tortuous road opened by distorted guitars. A frantic snare drum makes “As Far As Eyes Can See” bubble for a bit while surrounded by guttural horn pleads and exclamations. Ephemeral, this section quickly dissolves into another mantric pulse led by the jaw harp. Matana’s spoken word is so powerful here, metaphorically related to segregation.
“Trail of the Smiling Sphinx” includes snippets of old folk tunes, namely, “Paddy On the Turnpike” and “Cold Frosty Morning”. The pace changes via effortless transitions and the textural aesthetics includes the pungent brassy romps of guest trombonist Steve Swell in addition to a thrumming guitar and riffing sax. That’s before Marcus’ fiddle suggests an animated, quasi-cacophonous dance. By the end, Matana’s words return in the company of those recurring droning sounds.
Initially disjointed by consecutive melodic fragments, “Piddling” finds a secure path to thrive in the synchronous movements that arrive next, while “Wild Fire Bare” burns in intensity with free sax romps, eccentric electric guitar chops, and natural folk melodies forming arcs of timbres that vibrate in mesmeric motion. Nothing dampens its punch.
A state-of-the-art identity is passed to the melodies of popular American songs. Hence, an untangled arrangement of W.C. Handy’s “St. Louis Blues” is offered on “Fit To Be Tied”, yet its premise sounds like a slow mournful fanfare. “Her Mighty Waters Run”, a beautiful reading of “Roll the Old Chariot Along” features an impeccable vocal arrangement carried with the help of singers Thierry Amar, Nadia Moss, and Jessica Moss. In the same way, the relentless “How Bright They Shine” includes an arrangement of Pee Wee King’s “Tennessee Waltz”. Apart from all this, the encouraging punk rock vocal intonations of “Raise Yourself Up” are exalted by folksy motivic lines and pushed forth by Sawyer’s engrossingly marching drum work.
Thoroughly narrated, revolutionary and liberating, this album speaks for itself, showcasing Matana at her highest level of creativity. In short: an essential listening.
Grade A+
Favorite Tracks:
02 - As Far As Eyes Can See ► 06 - Wild Fire Bare ► 11 - Raise Yourself Up