A collision of musicians that on paper might suggest fractious, frantic results, is instead a gestalt of tempered, balanced, largely restrained playing, with egos in abeyance and empathy keenly evident. You can refer to Bill Meyers’ fine liner notes for a run-down of Hauf’s affair with the city, but I do find one aspect of this ensemble’s joined sensibilities of interest. Essentially the Sextet is an encounter between Chicago improvisers of the Umbrella Music Collective (Jason Stein, Keefe Jackson and Rosaly) and musicians associated with (let’s forgo bickering about placeholder names) EAI (Michael Hartman of T.V Pow, Hauf with his Efzeg affiliation, Steven Hess of, among many projects, Haptic). A little research reveals that all of the Sextet came to Chicago, from every direction,between 1999-2001. Efzeg became active in Vienna in 1999, but Hauf began his infatuation with the Midwestern city that year, returning annually, more or less, to this date; Keefe and Rosaly hit the city in 2001; T.V. Pow, as a trio, became active in the city at that time; in other words, the present-day Sextet gathered in Chicago at least 12 years ago, drawn to it as a burgeoning locus for experimental music. That’s one aspect of this collision.
The music at hand owns some of the blurring of individual roles associated with Efzeg or Haptic; the horns often braid and twine together without solos or a foregrounded voice. There are passages where, oddly and refreshingly, the three drummers lay out, opening a World Saxophone Quartet-like space for Stein, Hauf and Jackson’s stacked harmonies. The flip is true as well – one piece finds the percussion rumbling alone, with an admirably tamped-down fire. There are occasional bursts of frenetic reed work, though reigned in and always returning and folding back into the whole.
Somehow – and I count this as no small feat – Hauf has immersed himself for many years in his adopted city, his love for theimprovisation forged there self-evident, without becoming derivative or diluting his own sound and approach. This enables the Sextet to be a strange brew, an authentic collective, remaining horizontal, unimpeded by egos, and able to foment, as they do onNext Delusion, a surprise or two.
Jesse Goin – CROW WITH NO MOUTH