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Fictionary, Mark Helias (GMR, 1998)
This is a rather intriguing program, taken from a pair of Mark Helias Quartet
performances at European festivals. Bassist Helias is an underrated composer,
and, of his seven originals, the lyrical "Looking Up From Heaven"
is one that deserves to be covered by others. Tenor saxophonist Ellery Eskelin's
forceful flights contrast well with violinist Mark Feldman's more grounded (but
no less explorative) improvisations. The drummers (Mike Sarin is on four numbers,
while Tom Rainey is on the other three) are supportive and stimulating. The
music overall has strong melodies and plots, with the freer sections being logical
outgrowths of the themes. Although two of the seven selections ("Hands
Down" and "Area 51") are over ten minutes long, none of the performances
overstay their welcome, and some are quite concise. The blend between the instruments
(particularly the violin and the tenor) is quite appealing, and the music is
never
predictable, yet is ultimately logical. A continually fascinating set of surprising
music. ~ Scott Yanow, All-Music Guide
Fictionary
Mark Helias "Fictionary" | GM Recordings
Highly regarded bassist Mark Helias is also a fine composer and bandleader.
His latest effort "Fictionary" is a live recording featuring Mark
Feldman; violin, Ellery Eskelin; sax, Mike Sarin and Tom Rainey on drums. This
cd captures performances from Helias' unit during the 1995 Groningen and 1996
Nijmegen jazz festivals. The interplay is magnificent. Helias compositions are
perfect vehicles for extroadinary improv between violinist Feldman and the astounding
Eskelin on tenor sax. The pace varies from tune to tune but the key ingredients
here are the conveyance of fresh ideas coupled with mind boggling technique
and captivating improvisation.
Helias' apprenticeship with Gerry Hemmingway, Ray Anderson, Anthony Braxton
and numerous other jazz luminaries has caught the attention of most serious
jazz afficionados; however, he has released a string of fine solo recordings
over the years, this being among his best. Helias' while possessing monterous
chops is equally adept at employing space and color. His compositions here are
definitive pieces which at times appear to be angular and complex; however,
he maintains strong sensibilities of swing. Helias' gives Eskelin and Feldman
room to breath fire. They dart through these compositions with explosive forays
into jazz improvisation mania ! The interplay is a thing of beauty. The dialogue
inherent in this band suggests that they were pulling out all the stops yet
having tons of fun. Tom Rainey sits behind the drum kit on Area 51; thus, Mike
Sarin appears on all other tracks. Honorable mention to both drummers for stellar
support. The recording itself is a sonic delight which enhances the overall
feel of the live dates. This cd ranks among 1998's best. I would also highly
recommend this cd to the student of jazz improvisation and composition.
Tracks: The Comb Over; Looking Up From Heaven; Hands Down; Fictionary; Area
51; Douglas Fir; Haymaker
~ Glenn Astarita Fictionary
Mark Helias | GM
A creative composer and bassist, Mark Helias gathers familiar harmonies and
fresh melodies, combines them with checkered rhythms, and produces music guaranteed
to hold your interest. Fictionary was recorded at performances in the Netherlands
for the Groningen Jazz Festival and the Nijmegen Music Meeting in 1995 and '96,
respectively. The quartet, which combines Ellery Eskelin's tenor saxophone with
Mark Feldman's violin, Helias' bass, and drums, is aptly named Attack The Future.
Tom Rainey was the drummer for the 1995 background information at : www.markhelias.com
Each of these compositions are by Helias, who slides and bends notes on his
bass to express melodies that linger and form pleasant group interaction. "Fictionary"
is a slow dramatic piece that emphasizes the artists' interplay. Rainey's percussion
marks are syncopated and varied enough to keep the ensemble loose while the
others maintain a lyrical team approach. "Area 51" incorporates space
and fresh creative expression, while "Douglas Fir" wafts gently with
stoic charm. At times the creativity boils over into loud rants, but Helias'
walking bass is always there to return a sense of swing and normalcy. The gentle
ballad "Looking Up From Heaven" includes lyrical solo work from Helias
and Feldman. Their stringed instruments are expressive and infer a Third Stream
connection. "Hands Down" is a lively dance number from the European
tradition that allows time for Eskelin and Feldman to stretch out. The saxophonist
pushes the virtuoso-like melodies. The quartet offers a fusion of dramatic European
dance music with creative improvisation. Highly recommended.
~ Jim Santella
Mark Helias
Fictionary - GM3037
Mark Helias had a different idea of how to utilize Eskelin’s sound on
this live quartet disk. Pairing Eskelin with violinist Mark Feldman in the front
line, Helias and company glide through the program, the leader soloing impressively
with deep tones on Looking Up From Heaven. Eskelin tears it up on the propulsive
Hands Down, Helias swinging hard with drummer Mike Sarin’s New Orleans
syncopation a la Ed Blackwell. Feldman solos aggressively with a rich tone.
His interaction with Eskelin and drummer Tom Rainey show the quartet familiar
enough with each other to climb out on a limb reaching creative conclusions.
Steve Vickery, Coda Magazine June, 1999
Mark Helias
"Fictionary" (GM) ***
Tired of off-the-rack recycled bebop? Try these live recordings by bassist Mark
Helias on for size. With a pianoless quartet of young veterans -- including
a striking front line of tenor saxophonist Ellery Eskelin and violinist Mark
Feldman -- the band weaves through left-leaning original material with agile
wit and off-the-cuff authority. The shadow of Ornette Coleman looms large, especially
in the sing-songy swing of "The Comb Over," the phrase-by-phrase rubato
stroll through "Area 51" and the general absence of recurring chord
cycles. Yet the players speak individually and collectively in their own voices,
especially the underrated Eskelin.
By Mark Stryker, Free Press music critic
Spectator Online Best of 98
JAZZ DISCS I
By Stan Dick
6. Fictionary, Mark Helias (GMR). Bassist Helias leads a quartet
that meshes the tenor saxophone of Ellery Eskelin and violin of
Mark Feldman. The players each have unique musical sensibilities, embracing
a range from unsentimental lyricism to probing explorations. Intriguing compositions
and voicings.
Jazz Is
October 1998
Bassist Mark Helias may one day find his engaging ensemble sound emulated by
bandleaders. Bringing together violin and tenor saxophone with bass and drums,
Helias presents a band sound that is both uncommon and sensually appealing.
the live recording, Fictionary (GM Recordings), finds Helias in charge of two
editions of his ensemble: the tracks from 1995 feature drummer Tom Rainey, the
1996 tracks, drummer Mike Sarin. Constant presences, violinist Mark Feldman
and tenor saxophonist Ellery Eskelin, are purposeful, full toned improvisers.
Feldman come on like he’s the horn man, while Eskelin balances open-ended
explorations with logically structured lines. On the lovely ballad, “Looking
Up From Heaven”, both players expose their tenderest tendencies, producing
lyrical solos that take on piercing expressive weight , free of the couching
harmonic support of, say, piano or guitar. If Feldman and Eskelin naturally
command attention, Helias and his drummers are never far from the action. In
fact, spend a few listens with your ears trained to Helias’ massive swing,
contrapuntal invention, and tonal beauty: these are rewards in and of themselves.
Sarin and Rainey, both strikingly subtle, intelligent percussionists, are equally
impressive. Helias’ music--painstakingly precise in organization, yet
spontaneous in execution -- makes use of the best of modern post-free-jazz possibilities.
Steve Futterman
The Green Mountain Jazz Messenger
Mark Helias
FICTIONARY
Mark Helias may not be the first name that comes to mind during a discussion
of creative improvisers, but perhaps that’s due more to his instrument
of choice rather than to his significance within the jazz world. Other than
Charlie Haden and Dave Holland, both of whom have shifted toward the mainstream
in recent years, there are precious few bassists working on the cutting edge
who receive much attention. Not to pigeonhole Mr. Helias, whose background includes
a healthy dose of funk playing and writing, most notably as co-conspirator with
Ray Anderson in the Slickaphonics during the 1980’s.
Fictionary, Helias’ seventh recording as a leader, is his first live outing.
The selections have been culled from two appearances at festivals in the Netherlands
during 1995 and 1996. The bassist is the writer of all seven compositions, each
of which merits repeated listening, and each of which benefits from outstanding
musicianship. The worldbeat directions which Helias explored on his last studio
date, Loopin’ the Cool, are again in evidence, especially on “Hands
Down” with its Mediterranean flavor -- and on “Haymaker,”
a delightful melding of the aforementioned funk with Middle-Eastern influences.
The latter is highlighted by an astounding tenor sax/violin polyphonic dialogue,
which continues unabated for most of the songs seven minutes.
The various musical influences revealed here do not come across as attempts
to be trendy; it is clear that Helias has catholic tastes, and his compositions
naturally reflect that broad palate. Take “Looking up from Heaven”,
for instance. This lovely ballad has all the makings of a jazz standard, save
perhaps a set of lyrics. The title selection, on the other hand, deftly combines
freedom and structure, recalling contemporary classical music and, alternately,
free jazz. Apprenticeship with bands led by similarly-inclined mentors such
as Edward Blackwell, Anthony Braxton and Dewey Redman no doubt had an impact
on the bassist-as -young-man.
Helias has a knack for choosing bandmates who share his wide-angle-lens approach
to music. Each of the participants on this recording possesses prodigious technique;
more importantly, each has found his own voice. Ellery Eskelin and Mark Feldman
are, without a doubt, two of the best players in jazz on their respective instruments;
tenor sax and violin. For confirmation of their originality and prowess pay
special attention to their solos on “Hands Down” which, in both
cases, build from a whisper to a scream. Eskelin has been collaboration with
Helias for several years, and is also a member of the bassist’s Open Loose,
along with drummer Tom Rainey. Rainey’s distinctive percussion work is
featured on three Fictionary cuts; Mike Sarin, best known for his work in the
Thomas Chapin Trio, provides the rhythmic juice elsewhere.
Mention must be made of the liner notes on this CD, which were written by the
bandleader himself. Avoiding the formulaic song-by-song account and overblown
accolades common to such writing, Helias instead shares his perceptions regarding
the nature of live recordings. This makes for fascinating reading and provides
us with a deeper understanding of the artist’s concepts. Although the
bassist has lived in New York City for many years, he has ties to New England,
having earned a masters degree in music from Yale University in 1976. During
the 70’s Helias was a part of the unusually fertile creative improvised
music scene that existed in Connecticut at the time. Leo Smith, Anthony Davis
and Jay Hoggard are among the many musicians who comprised that loose-knit coalition,
much of it centered around activities at Wesleyan University in Middletown an
Yale in New Haven. For more information about Fictionary and other Mark Helias
recordings an concert dates, visit his Home Page at www.markhelias.com.
Chuck Obuchowski Signal To Noise
Mark Helias
Fictionary
Much like a live jazz album fills a singular void between studio release and
live performance, Mark Helias' intense and almost indescribable bass playing
on his latest live release Fictionary exists on level reserved for the elite
of new music bassists today. Avant-garde and experimental without the percussiveness
of a Mark Dresser or a Chris Wood, Helias' intensity and never-ending deviations
through constantly shifting meters and styles within each piece energizes both
the listener, and more importantly the fine cast of musicians he has chosen
to surround himself with.
With Mark Feldman on violin and Ellery Eskelin on tenor sax, this release documents
two dates from Dutch jazz festivals in 1995 and 1996. Tunes like "The Comb
Over" and "Hands Down", with the exciting Mike Sarin on drums,
capture four musicians striving to push the boundaries of small group improvisation.
The unison chemistry between Feldman and Eskelin is as captivating as their
soloing styles are diverse and exciting. Sarin, particularly on these tracks
and the closer "Haymaker", brings the drum kit on equal footing with
the other instruments during extraordinary moments of collective improvisation.
On the three tunes from 1995 with Tom Rainey on drums, the band takes a marginally
less straight ahead tack, and focuses on a more loosely based group improvisational
vibe which consists of greater dynamic range and a wider variety of sounds from
their instruments. Rainey accentuates thesubtleties of the drums with brushes,
while also reserving the right to bust a tune wide open with a mad percussive
dash. The interplay between Helias and Eskelin in the opening minutes of "Area
51" is quietly experimental, building slowly into an exciting and almost
groovy double-time second half.
Amongst all his sublime compositions, the significance of Helias' bass cannot
be overstated. He leads the musicians into flips and rolls, darting around from
here to there with a seemingly effortless style which offers surprises around
every turn in spite of the fact he is obviously playing something new all the
time. His playing reaches out and grabs the listener while evoking the best
out of the musicians around him.
While Helias concedes in the liner notes that live albums cannot completely
represent the experience of a live performance, the best live albums offer invaluable
windows into the creative spirit of musicians listeners may never have the opportunity
to witness first hand. This new music time capsule represents two amazing nights
of music which can now be heard in the musicians' homeland where this sort of
improvisation is all too rare.
Scott Menhinick