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ST-20128
 which changes to a new tonality in the and
tional Venezuelan songs. The others are a
second section. Tight, sure and neatly mak
mixture of standards from the jazzman’s
structured solos by Victor and Dennis perm
repertoire and original compositions show¬
Budimir add another level of definition to rhyth
ing varying degrees of Venezuelan influ¬
the performance and are further highlighted than
ence. The result is not only a fascinating
by yet another change of tonality in the the q
document of the meeting of two traditions
supporting bass part. Bill Perkins’ solo well
but the entire LP as a unit is an excellent
bursts in at the section in six beats and with
example of musique a faire plaisir, music
brings with it the faint suggestions of the char
to give pleasure.
return to the composed melody and the The
Although on first hearing the music
close of the piece. the s
recorded here goes smoothly and effort¬
Walt
lessly by, careful listening reveals a wealth The third original composition on the
here
of musical subtleties and refinements. record is another from the distinguished
rom
One of the highlights of the LP is an original Victor Feldman pen. This one is entitled
rhyt
by Victor Feldman, Summer Island. The simply Pavane, and although it bears little
Alth
composition follows the now standard formal resemblance to the Renaissance or
wide
formal structure A A B A, but the orthodoxy Baroque forms of the ancient dance of the
it se
ends there. While it is becoming increas¬ peacock, it does suggest much of the grace¬
are a
ingly common to hear jazz musicians play ful ease of the original. Set in an easy meter
of Y
in asymmetrical rhythmic patterns and of six beats, Pavane is perhaps structurally
strai
meters, this beautiful and light tune dances the simplest piece of the group and yet, for
open
easily through some truly amazing changes. me, the most haunting and the one which
vibe
The four phases of the A section are in remains longest in the memory, reappear¬
bein
11 beats (5 plus 6), 11 beats, ten beats ing unexpectedly long after I have put the
from
(5 plus 5) and 11 beats which are repeated record away. Bill Perkins’ flute sings
before coming to the B section which is set through the first statement of the melody, Por
in a regular six beat meter. This is in turn but even afterwards the same melody trad
followed by another statement of the A seems to be quietly winding its way on Pasa
section. The rhythmic structure does not through Victor’s and then Bill’s improvised is an
conveniently become regular to accommo¬ solos. Dennis Budimir’s guitar solo then Ven
date the solos, and Victor’s vibes solo leads to the unobtrusive return of the Torr
especially highlights the logic of this other¬ melody that seems never to have ceased and
wise unconventional meter. One has only at all. song
to listen to the beautiful ease of this The
The two standards in the group, Frenesi
evocative tune to realize that this is no the
and The Shadow of Your Smile, each
mere exercise in esoterica. beg
receive very different treatment. Frenesi is
othe
Another adventure in irregular rhythms is marvelously transformed by removing it
•'ppsH

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