Reviews

Gary Hassay, Dan DeChellis, Tatsuya Nakatani

Not knowing any of the players on this LP aside from Tatsuya Nakatani, who has spent the past few years developing a reputation as one of the better improvisational drummers in New York City, I was a little apprehensive about what might lay in this record's grooves, especially given the bass less lineup of alto sax, piano and percussion. Apprehension melted into appreciation as the two tracks on the first side showed a trio in full command of not only its instruments but its improvisational power and spontaneity, sometimes mixing in some toned-down beauty. Gary Hassay leads the way on the sax, squealing and squonking not only with an amped ferociousness, but also with a decent sense of when not to blow it all out (a quality not always shared by younger saxophonists). Nakatani and DeChellis deftly move in and out through Hassay's twists and turns, and both employ a pretty wide range of styles and techniques familiar to any fan of free music, yet are interesting enough as players so as to not sound stale. The real highpoint of the set, though, comes on side two where the side-long “Song for Simone” begins with Hassay tackling some throat-tickling solo singing, in the style of a less-nasal La Monte Young (or maybe a less-cold Tuvan throat singer). Some nice overtones ring through Hassay's wordless notes, and eventually his partners come through with some subtle scrapes and chords as accompaniment, showing a nice and gentle counterpoint to side one's occasionally frenetic jams. On clear vinyl, with hand-stamped labels, and includes a CD with album and bonus tracks. (JH)

DUSTED

Gary Hassay, Dan DeChellis, Tatsuya Nakatani

An outstanding record by a fantastic free jazz trio from Allentown, PA. Hassay/DeChellis/Nakatani play three pieces, each one eliciting conflicting moods of confusion and contentment, frustration and tranquility, sadness and fulfillment, all done with a tight intensity. What is remarkable is that this tension is achieved without resorting to the bombastic noise many of today's free groups use. Sax, piano, and percussion (and for one song, voice) are tightly entwined but still manage to give the feeling of space, something Jimmy Giuffre was able to master. All players seem acutely aware of what the other is doing, while, at the same time, cutting paths for themselves. View From The Bridge tumbles into existence and churns along like a stream that broke its banks, effortlessly navigating around seated obstacles, moving forward until the thought is dry. Our Friend Judd starts and ends subdued but intense, a quiet, compact form of energy and slyly slides into an inner dialogue that reminds me a lot of Aylers' non-dirge work on the Village Vanguard records. Nakatani reveals his magic by coaxing a series of creaks, squeaks, and shrieks out of his drum set. His work is so good that in Judd and Song For Simone, I was convinced another horn or violin somehow joined in. I write somehow because, on Song For Simone, Hassay exchanges his sax duty for vocals. Rather than sing in a conventional manner, Hassay drones sounds that remind me of old Folkways & Nonesuch records of Whirling Dervish chants and Tibetan Monk prayers. Behind Hassay, DeChellis and Nakatani slowly build, sliding in sound so effortlessly that the seam between they and Hassay is nonexistent. After ears dulled by so much noise for jazz's sake, a record like this is a big treat. Excellent.

Scott Soriano , Z GUN issue # 1, Summer 2007

Gary Hassay, Dan DeChellis, Tatsuya Nakatani

Allentown, PA seems doomed to be remembered for Billy Joel's wretched 80's anthem, but alto saxophonist Gary Hassay must surely be considered its free jazz king. On this limited edition vinyl pressing of Live At WDIY, Hassay and cohorts, pianist Dan DeChellis and the remarkably adept percussionist Tatsuya Nakatani, present three slices of free improvisation full of heart and impulse. Hassay's probing, dry-ice inflected attack cuts deep, while DeChellis coaxes sounds from his keys in a technically facile, if not wholly distinct fashion. The real star of the session, though is Nakatani, who expands his traditional kit with bowls, cymbals, drums and other devices to produce an impressive battery of sounds. On the textural musings of "View From The Bridge," Nakatani goes Euro-style with a skittish craftsmanship that takes advantage of the microtones of his kit (scrapes, beats, blinks and clangs), while DeChellis focuses on rhythmic variances and Hassay sallies forth. "Our Friend Judd" lays down an open-ended, fiery excursion with Nakatani sticking to his traps and Hassay whisking up a tempest. Finally, the meditative "Song For Simone" gives Hassay the opportunity to display his vocal techniques. While his throat singing is certainly an acquired taste, it validates Hassay's commitment to emotional candor in his music. While the beautiful, yet modestly packaged audiophile LP presents only thirty minutes of the concert, Foreign Frequency should be commended for including an accompanying CD containing the entire performance. While this slab of wax may not be around for long, it is encouraging that Hassay's work has its backers and proof that free-thinking individuals do exist outside of our major metropolitan locales.

Jay Collins , "Signal to Noise" fall 2007

To Be Free

Gary Hassay (alto saxophone), Paul Rogers (upright bass)

We look at three interesting recent offerings from Konnex. The solo and duet have, of course, been established groupings for new music ever since the late 60's. Sometimes they can be a curse to the listener, if the performers aren't quite up to it or ignore the virtues of brevity when they should do to opposite. Every once in a while, though, a disk comes along that eminently fulfills the promise of a minimal rostering; here it's a duet. Allentown, Pennsylvania-based altoist Gary Hassay and his cohort acoustic bassist Paul Rogers manage to fill a CD with series of Free duets that never flag, that reach for tonal variations and textures and find each target with seeming ease. Paul Rogers plucks and bows his way through some truly virtuoso efforts and brings Hassay's textural and tonal forays into a dialogue that is intelligent and musical as well as impassioned and dynamic. There's even a little Tuva style throat singing - just a taste. Hassay's been around since 1978 and it is time he came into some greater prominence. According to Hassay and Rogers this session was recorded in the USA during January 2004 but took several years to see the light of day. If so, it was-and is-something worth waiting for.

Grego Applegate Edwards, Cadence Magazine

To Be Free

Gary Hassay (alto saxophone), Paul Rogers (upright bass)

A lemez külsõ, belsõ és hátsó borítójának bájos rajzainak narancssárgás egén két madárszerû fura teremtmény repül, amiket éppen úgy mosolyogva csodálnak utcai járókelõk, mint házuk ablakaiból kikukucskáló kíváncsiskodók. A krokodil testû madár kezében egy szaxofon, a gömbölyded szõrös testû pedig egy nagybõgõt tart. Az egyik nagyobb termetû, szemüveges, a másik valamivel kisebb, borostás. A szaxofont fogót minden bizonnyal Gary Hassay-nek, a nagybõgõt cipelõt pedig Paul Rogers-nek hívják. A szélsõséges free jazz két kiválóságának elsõ találkozását dokumentálja a To Be Free. Ami e két rendkívüli zenész munkásságát illeti: az allentowni Gary Hassay a hetvenes évek legvége óta tagja különbözõ nagyzenekaroknak, melyek közül talán a Dr. Vincent Sakeeda's Attack Ensemble vonta magára legnagyobb sikerrel a kritika és a közönség elismerõ figyelmét. A nyolcvanas évek közepétõl már inkább kislétszámú - és nem kizárólag hangszereseket tömörítõ - kreatív csoportok foglalkoztatták Hassay fantáziáját, ilyen volt például a kvázi-összmûvészeti társulatként mûködõ The Stubborn Trio, ahol a táncos-koreográfus Karen Carlson és az akcionista festõ Howard Greenberg Hassay partnere, aki ebben az idõben a csoportos zenélés mellett már éppen úgy komponált élõben hanganyagot interaktív számítógép-vezérelt installációkhoz, mint táncszínházi produkciókhoz. Az utóbbi idõben Hassay két trióval koncertezik, az egyik a William Parker nagybõgõssel és Toshi Makihara ütõhangszeressel felálló Ye Ren hármas, a másik pedig egy Dan De Chellis zongoristával és Tatsuya Nakatani ütõssel alkotott trióformáció. Az utolsó három - nagylemezen is publikált - munkáját a hegedûs Dave Pollitt (album: Dbops Pollittics), a hárfamûvész Anne LeBaron (album: Blackwater Bridge), és az énekes, hangperformer Ellen Christi (album: Tribute To Paradise) társaságában készítette. A jelenleg Franciaországban élõ és dolgozó Paul Rogers Barry Guy és John Edwards mellett talán a brit free jazz egyik legalapvetõbb nagybõgõse, aki Paul Dunmall, Evan Parker, Paul Rutherford legkülönbözõbb formációinak ritmusszekciójából, illetve Keith Tippett legendás Mujician kvartettjébõl lehet sokaknak ismerõs. (Paul Rogers legutóbb tavasszal játszott Magyarországon, mégpedig Borbély Mihály szaxofonos és Baló István dobos társaságában.) Gary Hassay | Paul RogersÉs most egynéhány gondolat magáról a lemezrõl: végtére is, a legkevésbé sem mutat sosem hallott megoldásokat Hassay és Rogers, viszont azokat a zenei hangokat vagy apró neszeket-zajokat, amiket ezúttal hangszereikbõl szülnek, olyan bámulatos természetességgel, gördülékenységgel teszik, hogy a To Be Free kompozíciói egy percig sem tûnnek embert próbáló, ördöngõsen nehéz hallgatnivalónak. Hassay apró hangokat lehel alt szaxofonjába, amiket csak néhol söpör félre egy-egy harsányabb, orkán-szerûen süvöltõ kirohanás. Rogers a tételek többségében fõleg vonózik, vagy ha nem rendeltetésszerûen szólaltatja meg önnön tervezésû és készítésû héthúros nagybõgõjét, akkor valószínûleg elképesztõen egyszerû mozdulatokkal barangolja be hangszerét: itt-ott néhány erõteljes ujjhúzást, halk dörömbölést, dörzsölést vagy apró karistolást produkál a bõgõ testén vagy a húrokon. Ebbõl érthetõen következik, hogy a zenei hangok ezúttal sem élveznek semmiféle elõnyt a zörejhangokkal szemben. A néhol egészen meditatív hatású felvételek sorában a kilenc perces ötödik tétel mutat jelentõs variáltságot, hiszen itt Hassay leteszi szaxofonját és tuvai torokéneklést alkalmaz - a darab címe is "For My Tuvan Friends". Érezhetõen nem volt különösebben fáradtságos munka a két zenész számára ezt a majd' 63 percet kiadni magából, hiszen Hassay-bõl és Rogers-bõl csak úgy ömlenek a kiválóbbnál kiválóbb ötletek, minden újabb pillanatban más és más, így ismétléseknek helyet nem engedve könnyed, ám magabiztos virtuozitással játszanak hangszereiken. E két kiemelkedõ hangszerismeretû és kreativitású zenész elsõ közös munkája maximálisan lelkesítõ, szerethetõ, és persze mindenek elõtt egészen izgalmas darabokat szült, amelyekrõl talán még Hassay és Rogers sem sejtette, hogy ilyen kiválóan fognak mûködni. Ez a zene önmagáért beszél, nálam vitán felül az idei év egyik legszebb meglepetése! Dusted Hoffman 2006. október 30.

Dusted Hoffman, Improv.hu

Tribute to Paradise

Gary Hassay (alto saxophone), Ellen Christi (vocals)

Though wordless in approach, using hums, sighs and shouts in addition to a dynamic repertoire of lyrical sound, Ellen Christi is a unique vocalist whose improvisations belie careful study of African and indigenous North American vocal music as well as a sense of soul that approach both Jeanne Lee and Fontella Bass. Long a fixture in some of New York's most daring free-music contexts, she is joined here by altoist Gary Hassay. Hassay's art, at least in this setting, is that of a restrained-yet-frantic improviser, coolly toned but acerbic when synapses call for it, an odd edge that has also imbued Marion Brown, Braxton and Konitz at his freest. Like Braxton, Hassay is also able to hit those low, tenor-like notes with a hushed vibrato, in many ways the perfect reed match for Christi's bubbly and dynamic cadences. Several pieces feature Hassay in vocal duet with Christi, Hassay welling up sound from deep within his throat to match Christi's sonorous lines—as on “Episteme.” Whereas the voice-tube antics of someone like Han Bennink echo throat singing, Hassay is a masterful practitioner of the art, splitting octaves vocally as Evan Parker might in an epic of circular breathing. In these two sets of duos, the conversant element has become as much about the exploration of what makes up words and sentences—in some ways much more elemental than dialogue. Relearning the production of sounds, strung together to create brief lines of communication while simultaneously reveling in the joy of having that very ability to produce sounds. So as we might say improvisation is a truly communicative art form, it is also one that gets at the very roots - the 'dik' - of communication.

Clifford Allen, All About Jazz

Tribute to Paradise

Gary Hassay (alto saxophone), Ellen Christi (vocals)

Ms. Christie is one of the most distinctive avant/jazz vocalists to emerge from the downtown network over the past two decades and is featured on a handful of recordings with William Parker and Jemeel Moondoc. Gary Hassay plays alto sax and I only know him from a couple of recordings on this same label, one with William Parker and Toshi Makihara. We were fortunate to hear Ellen doing her unique style of vocalizing this past weekend at the Vision series with Rob Brown, Roy Campbell, Henry Grimes and Rashied Bakr, since her live appearances are so rare. 'Tribute to Paradise' finds this duo quietly exploring their unique sounds together in an exquisite balance.

Both voices have a similar range and caress each other gracefully, bending their notes around one another. By the second piece, "3 Deuces Three", they start to sailing and swerving together, again twisting their voices together as they explore similar terrain. Gary also vocalizes on three pieces and does a fine job of interweaving his voice with Ellen's is a special, connected way. It sounds like there are few layers of vocals on these tracks, creating some marvelous, mysterious ghost-like disembodied voices and a bit of throat singing as well. This fine duo creates a very personal story or journey that unfolds slowly and takes us along with them to new places. Indeed, a very special and intimate experience.

Bruce Gallanter, Downtown Music Gallery

Tribute to Paradise

Gary Hassay (alto saxophone), Ellen Christi (vocals)

Most improvisations are intrinsically doomed to vanish, but what was created by Christi and Hassay in this session goes much further than the short distance of a vague reminiscence. This music can scream or sigh, most of all it pants while holding for dear life; Gary takes his alto sax away from a meditative line and puts it around a chain of melodic oddities, all the way through spinning phrases hovering like a bee intoxicated by the barbecue fumes of a garden party. Ellen has a commanding vocal authority that makes her able to choose the right path in every context; you get free-style stutterings, (Meredith) Monkish hommages and in general a display of genuine virtuosity going after new dialects rather than post-bebop littlenesses. Pursing their lips, staring each other, armed with a deep-rooted love for what they do, this couple conceived one of the best duets you can hope for, the greatness of which - if what I just wrote is not enough - is demonstrated by the three all-vocal beauties they dedicated to mouthpiece craftsman Jon Van Wie, really thrilling stuff in an already considerable album.

Massimo Ricci, Touching Extremes

>
Tribute to Paradise Gary Hassay (alto saxophone), Ellen Christi (vocals)

Tras Blackwater Bridge (Gary Hassay y Anne LeBaron, 2002), disco que mostró nuevos caminos de confluencia entre el saxo alto y el arpa y que ayudó a redefinir las relaciones entre los instrumentos de viento y de cuerda, elevándolos a un nuevo nivel discursivo cuyos ecos perduran en la memoria del oyente, ahora Drimala Records ha decidido invertir nuevamente en el talento de Gary Hassay, saxofonista y creador del excepcional Another Shining Path, del trío Ye Ren, con William Parker y Toshi Makihara – uno de los mejores discos de 1999, a todas luces más que recomendable. La gran noticia es pues que Gary Hassay vuelve a hacer discos. Y ahora en compañía de la cantante Ellen Christi, señora de una elegancia vocal intachable que, de este modo, se presenta en esta propuesta de dúo resultante de la combinación sonora de las voces de dos artistas absolutamente fuera de lo común y que se inscribe en la serie de obras con las que el sello de Hampton, Virginia, profundiza paulatinamente en la esencia de este formato. En este sentido, la articulación vocal de Ellen Christi, fantástica cantante de free form, se ajusta como un guante a la sonoridad de madera del saxo alto del pintor abstracto Gary Hassay. Dos casos extremos de subexposición, en un mundo en el que la música improvisada de este calibre se ve condenada inexorable y progresivamente a quedar recluida en un gueto, en favor de productos y subproductos de menor valor estético y musical que inundan el mercado. Pero ese es otro tema. Volviendo a Tribute To Paradise, lo he escucharlo varias veces, con el placer renovado que se experimenta en cada nueva escucha gracias a la empatía, intimidad, armonía y voluntad de comunicación de los dos creadores. Christi canta con swing y sin palabras, en una sucesión de onomatopeyas (scat) de definición brillante y limpia. Hassay controla cada intervención con una intensidad impresionante, utilizando tonalidades y texturas poco usuales, desafiando al oyente en cada curva. Sobre Christi el diario The New York Times escribió: “Canta en un estilo fuerte y cristalino, improvisando con el fraseo de Albert Ayler y la intensidad de John Coltrane”. Esto queda igualmente patente en los tres temas en que el sonido de Christi se funde con la voz de Gary Hassay en un canto a capella de muy buen gusto. Vale la pena que el oyente haga el sencillo esfuerzo de intentar penetrar en el amago de sonido puro, dejarse mecer por los cambios de la coloración vocal de Christi, envolverse en los constantes meandros del saxo alto que enamora a la voz de Christi y se explaya en múltiples y sinuosas líneas melódicas. Parte del encanto de esta grabación radica en descubrir progresivamente los misterios de la creación musical espontánea, en el arte de descifrar estructuras complejas que al final se traducen en líneas melódicas de fácil comprensión. Conquista cuyo placer está felizmente al alcance de cualquiera de nosotros, desde el momento en que nos dispongamos a escucharlo con profundidad. La paz de espíritu que queda al final es la mejor recompensa que se puede esperar de esta promesa de “Nuevo Paraíso”.

Eduardo Chagas, Toma Jazz

>Tribute to Paradise

Gary Hassay (alto saxophone), Ellen Christi (vocals)

On “Outside the Box”, the longest and penultimate track on Tribute to Paradise, a collaboration between vocalist Ellen Christi and saxophonist Gary Hassay, the two musicians enter from opposite sides of the soundstage. First Hassay wanders on, blowing atonal lines of approximate 8th notes, and then Christi arrives chortling carefree high-pitched flurries of approximate 16th notes. The notes float in their own tempi, and the artists seem to exist in his or her own world—two musical actors declaiming interior monologues in the same space. Yet as they continue, they take note of each other more and more until they join in a kind of emotional hiccupping that leads to a little bluesy ending. Such is the interaction of these musical adventurers. They open the recital with a melancholy lullaby. Christi punctuates her wistful melody with a soft “tet-tet” sound and Hassay harmonizes with air blown tunelessly through his alto. “3 Deuces Three” begins with Christi evoking a hip bop song and Hassay scampering as if to avoid the bebop clichés her line seems to invite. Instead her minor pitched scatting grows in intensity, as do the saxophonist’s skittering lines. “Mystery Within” starts with light jangling percussion that may just be jewelry shaken about. Christi intones a lament in a scale that, with its jangle of minor thirds and minor seconds on the fringes of conventional tuning, could originate in the Baltics or any number of places to the east. The keening sentiment is universal no matter how exotic it may sound to some ears. Hassay complements it with spare playing, providing comfort yet allowing Christi space. Only when she steps aside does he release his own song that softens the contour of the scale. Christi returns in full voice to resolve the track. On three tracks Hassay sets his horn down to sing with Christi. On two, “Episteme” and “Anodyne”, the droning long tones, including overdubbed tracks, are reminiscent of throat singing mixed with Laurie Anderson. The harmonies are resonant, but not enough happens to sustain the seven-plus minutes of “Episteme” and then “Anodyne”, which sounds like a reprise. Christi adds a melody over the overdubbed voices on “Circle of Life”, realizing the potential of their vocal collaboration. With “Fireweed”, Hassay and Christi close the session in full flight, darting and dancing around each other with lines that elude resolution and push their technique toward its limits. Yet all the while they hint at the limitless imagination they tap, both as individuals and in concert.

David Dupont, One Final Note

Tribute to Paradise Gary Hassay (alto saxophone), Ellen Christi (vocals)

While the young thrushes with nice legs get the major-label contracts and the magazine covers, Ellen Christi keeps making fine records that too few will notice. She's an authentic jazz singer, an improvising musician with a flexible instrument that shows surprising power when she needs it. Sometimes she is a second horn duetting with alto saxophonist Gary Hassay and at other times, shes' clearly in the spotlight.

Christi shows great versatility using mouth noises on "Mystery Within" and building to almost operatic intervallic leaps. "From the Beginning" is an excursion into long tones and "Anodyne" is an overdubbed tour-de-force that sounds like a virtual Hi-Los singing Ligeti. Hassay joins her on vocals on this cut and drops in a little throat singing, to startling effect. A richly satisfying effort that's just right in every way.

John Chacona, Signal To Noise

>blackwater bridge Gary Hassay (alto saxophone), Anne LeBaron (harp, percussion), Harry Bertoia (sound sculpture)

Blackwater Bridge improvisations take place in the boundless territory that is located between a country named jazz and another named contemporary classical music. Saxophonist Garry Hassay comes from jazz, Anne Le Baron, harpist and renowned composer lives in the second country. Their gathering was effective just because the composer of "Rite of The Black Sun" is also an accomplished improviser and Hassay a musician fascinated with musical complexity that happens when one dominates the art of creating music in the moment, ensuring that this complexity does not live exclusively inside the world of musical writing, of which collaborations with Andrew Cyrille, William Parker, Wadada Leo Smith, Butch Morris, Borbetomagus or Fred Frith are eloquent examples. The saxophone/harp formula (with LeBaron also playing percussion and manipulating a sound sculpture by Harry Bertoia) is pretty uncommon and has opened new ways to this recording: apart from exoticisms, one can experience the wonderful small sounds Anne LeBaron makes out of her instrument and the intertwining of the snake-like quality of Hassay´s saxophone, who is also the leader of Dr. Vincent Sakeeda´s Attack Ensemble. Heterodoxy in as far as tonality is concerned, infidelity with respect to the dogmas that conduct the extended use of the musical vocabularies, idealistically uncompromised, "with the authority of Pollock and the subtlety of Dalí" as Scott Hreha writes in his notes, showing the strong influence of plastic arts in this type of music. What we find here is one of the best records that we can listen to these days in the area of musical improvisation.

Rui Eduardo Paes - translation by Eduardo Chagas

>blackwater bridge Gary Hassay (alto saxophone), Anne LeBaron (harp, percussion), Harry Bertoia (sound sculpture)

Gary Hassay and Anne LeBaron perform a series of intimate and unpredictable duets on Blackwater Bridge. LeBaron's extended techniques on harp yield a unique repertory of buzzes, hisses, and drones along with the more usual strums and plucking sounds, an imaginative complement to Hassay's fervent yet controlled alto saxophone. Very intriguing and rewarding listening. These generally quiet free improvisations are sensitively realized and oddly intriguing.

Stuart Kremsky, IAJRC Journal Winter 2002/2003

blackwater bridge

Gary Hassay (alto saxophone), Anne LeBaron (harp, percussion), Harry Bertoia (sound sculpture)

Hassay and LeBaron clearly enjoy a challenge, dancing rhythmically through their alto saxophone and harp duet session, Anne working the beat around with her grip of steel. It is surprising how well this combination works, though there is a very spooky quality to some of this music. LeBaron's techniques such as bow on harp mesmerize, while Hassay's alto revels in an atmosphere far removed from conventional jazz accompaniament. The harp's sound carries as much punch as piano, though LeBaron spends a minimum amount of time evoking thunder, altering the harp's traditional tones with metal slides, electronics, and unconventional techniques. Hassay puts his own spin on this by adopting some playhouse tones to heckle the infrequent moments of "proper" harp play. LeBaron likes to experiment and some of this gets loopy, her supple lines mined with adventurous effects, at times sounding like a wire coat hanger hitting a shopping cart. They sense where each other is going so well, it seems telepathic. The contrast between the two instruments could easily create a feeling of collision but here is a happy example of apples and oranges fitting together quite nicely.

Steve Vickery, Coda Magazine Issue 308

blackwater bridge

Gary Hassay (alto saxophone), Anne LeBaron (harp, percussion), Harry Bertoia (sound sculpture)

Here is, to my way, one of the masterpiece of Drimala Records: it is about a duet constitued of Gary Hassay (alto saxophone) and Anne LeBaron (harp, perc, Bertoia sound sculpture). The former worked since 1979 with: Fred Frith, Andrew Cyrille, Peter Brotzmann, Tom Cora, Paul Rodgers, Keshavan Maslak or "Borbetomagus" and developped a very nice alto sound, veil, harsh and vibrating, rough, between Gianni Gebbia, Max Nagl and Evan Parker; The other studied with Gyorgy Ligeti, played with Muhal Richard Abrams, Paul Lovens, Ernst Reijeger, Derek Bailey ... et specialised herself in electronic exploration of the harp and preparated harp. Here, her instrument resonate moreover like no other: time to time Koto or disacorded guitar or even almost piano ... Violents or whispered, dry/sharp or matures, these improvisations elaborate, all along tracks, a tender, intimate and poignant free.

Marc SARRAZY - ImproJazz #95 May 2003

Translation by Heddy Boubaker

blackwater bridge

Gary Hassay (alto saxophone), Anne LeBaron (harp, percussion), Harry Bertoia (sound sculpture)

Gary Hassay/Anne LeBaron - BLACKWATER BRIDGE: We've reviewed a couple of Gary's CD's before (issues #45 and #37); this one with Anne's harp, sound sculpture & percussion takes it to the next level. Gary's alto interacts most intimately with LeBaron's sound paintings & sketches; the harp sounds against the saxophone make it an almost mystical experience. They are both to be complimented on their sensitivity to the sounds - it takes a great deal of skill and talent to play without playing over the other player in this kiind of improvisation. The "bridge" theme is clear, even without reading the liners... this isn't a traditional pairing (harp/saxophone) for improvisation, you can hear (immediately) that this duo are out to do more than splash sounds on the canvas... they clearly intend to engage themselves and the listener in an adventure of exploration... go where others have not been before. This is not "easy" listening... doubtful you'll hear it anytime soon (probably never) on your "smooth jazz" station... but it is worth the concentration. One of the most intriguing parts (in the overall) of "Blackwater" is that neither artist uses their instrument to blot out the other's excursion into uncharted territory; they listen to each other, & to the universe, if you will. If you have never listened to difficult music before, this IS the album to start with... by the time you finish listening, you will have definitely "crossed over" into new awareness (of the possibilities). This gets our MOST HIGHLY RECOMMENDED, as well as the "PICK" of this issue for "best exploratory improvisation"! Contact at Drimala Records, POB 69044, Hampton, VA 23669-9344, or via their website at www.drimala.com

target=other>Rotcod Zzaj

blackwater bridge

Gary saxophone), Anne LeBaron (harp, percussion), Harry Bertoia (sound sculpture)

The soft, warm tones of Anne LeBaron's harp wash over the gritty spurts streaming from Gary Hassay's alto saxophone, resulting in an open, liberated, and very challenging duet of improvised music. Hassay puts a slight biting edge into his alto voice. He slings high-pitched spears of mercury into the air, but he also massages his style by coaxing elastic, airy whispers from his horn in caressed fashion. His output is met with the rising and ringing pebbles of purity coming off LeBaron's harp, forming crystallized gems of tonality having both tenderness and strength. As with a rain cloud, the united sound is released from the atmosphere and falls gently to the ground. Hassay is very expressive on his instrument. He builds short phrases into elongated runs that, while being totally free statements of spontaneity, have a touch of lyricism in them. His thought pattern leans toward the introspective, giving his music character and depth. While certainly not a traditional jazz instrument, the harp has extended potential in the hands of LeBaron. She turns it into an improvising tool, plucking out aural jewels that mold into the framework of Hassay's playing. LeBaron utilizes the full range of the instrument, dropping the tonality down to its lowest point before climbing back to the summit of high-register bell tones. She takes the harp out of the medieval era and brings it smartly into the 21st century with adept use of electronics, by which she is able to shape and augment the notes in extremely understated ways. LeBaron emphasizes, underscores, and punctuates Hassay's improvisations and then builds her solos into intriguing flights of subtle delight. She ekes out gentle droplets of dew that evolve into cascading streams of instantly composed mystery. Sonically, the harp and alto form a hesitant, pensive union that grows into a perfect marriage of contrasting imagery. LeBaron etches the carving with fluted rings of gold while Hassay explores uncharted terrain with probing determination. This music is both spiritual and earthy, making it a work of substance to be pondered but most of all enjoyed.

Frank Rubolino of One Final Note

blackwater bridge

Gary Hassay (alto saxophone), Anne LeBaron (harp, percussion), Harry Bertoia (sound sculpture)

The concept of bringing noted new music harpist Anne LeBaron together with avant-garde saxophonist Gary Hassay would seem to be an attractive one. After all, the under-recorded and eclectic LeBaron has spanned the spectrum of freely improvised music, from modern classical to jazz, while the little known Hassay has distinguished himself as an innovative and creative performer. Somehow, though, these ten duo improvisations are something of a disappointment, as the two seem very much to be playing alongside rather than with one another. There are few synergistic moments when the two are on the same wavelength, although in fairness the collective expressive textures sometimes seduce with a surprising resonance. Hassay is the dominant voice, his lyrical alto riding gently and occasionally erupting, while LeBaron reacts or goes her own way. The harpist seduces a wealth of colors, a difficult task to be sure, resulting in subtle expressions that purr and fade into an impressionistic landscape. She infuses the instrument with a percussive element to complement its more traditional role. She eschews gimmickry, with the strings filling the role of bass and piano or vibes, but mostly simply adding a unique trajectory that spreads the sounds in several directions. There is a surprising peacefulness to the whole, as Hassay focuses on slowly unwinding lines, often in mid-tempo, leading to a gradually unfolding process that incorporates good use of silence and quiet.

Steven Loewy, All Music Guide

blackwater bridge

Gary Hassay (alto saxophone), Anne LeBaron (harp, percussion), Harry Bertoia (sound sculpture)

There has to be a reason why so many of the biggest names in free jazz and improvisation - including Ornette Coleman, Anthony Braxton, Archie Shepp, Peter Brötzmann, Evan Parker, David S. Ware and many others - are saxophonists. It’s probably partially a coincidence, but I’m guessing the high number of famous saxophonists also has something to do with the saxophone itself: because of its timbre and the effort required to even make a noise on it, the saxophone commands attention as soon as it’s played. Saxophones (with the possible exception of the baritone sax, which isn’t used in free jazz nearly as often as the alto or tenor) don’t work very well as background instruments; they’re too flamboyant sounding. So this CD, in which saxophonist Gary Hassay is accompanied only by the wispy glissandi of Anne LeBaron’s harp, is a curious one. The album is ultimately a success, however, due to the two players’ charming search for common ground. LeBaron knows that without a rhythm section backing her, she’d sound a bit ridiculous attacking her harp the way Alice Coltrane did, for example, on 1971’s Universal Consciousness. On the second half of the album, LeBaron steps out a bit-she offers thudding, low-end stomps at the beginning of “Never Told Tales,” and on “FRISSON,” she plays in startling start-stop blurts that feel a bit like going over a speed bump too fast. But for the most part, LeBaron stays pretty calm, plucking pensively at thin chords and scraping the ridges of her strings to create eerie scratching sounds. Hassay’s saxophone, then, is necessarily the focal point, despite Hassay’s attempts to give LeBaron room to move. Hassay eschews the innovations in extended technique developed by Braxton, Albert Ayler and others, playing with a full, straightforward tone that wouldn’t raise eyebrows in a bop combo. Like Fred Anderson and late-era John Coltrane, though, his approaches to harmony and rhythm are far from conventional. Here, he sounds purposefully uncertain, playing tentative, slurred phrases as he tries to fit into the tapestry woven by LeBaron. Despite their valiant attempts, though, Hassay and LeBaron’s instruments are too different for their work as a duo to really gel-Blackwater Bridge shows two players looking for and never quite finding each other. Hassay’s saxophone is a bit too heavy to sound as one with LeBaron’s harp. Paradoxically, though, it succeeds almost because of that fact: Hassay and LeBaron are each capable of sustaining interest on their own, and it’s strangely touching to hear them straining to find common ground. And when the music does cohere, like in the flying arpeggios at the beginning of “Memoire Involontaire,” it highlights the difficulty of Hassay and LeBaron’s task - making their musical partnership work.

Charlie Wilmoth, Dusted Magazine

A Survivor's Smile

Gary Hassay (alto saxophone)

This CD, in from Allentown (PA) based veteran alto sax improvisor Hassay, is an astounding collection of solo pieces. His sax is crystal-clear and superbly recorded, but the "meat" is in the motion he's able to create for the listener - sans freneticism! Some SWEET moments - Gary has an uncanny knack for keeping the momentum,even on the slower sections! The improvisations are focused, without seeming planned, with clear statements that will (at times) move you to tears. He makes it seem like it was YOU out there in the middle of the forest, talking to the trees. Those unfamiliar with improv sax should use this as a starting point, because it has some of the best aural paintings I've heard in several years, truly music to your ears! This CD comes MOST HIGHLY RECOMMENDED for adventurous souls of all persuasions! - Rotcod Zzaj-the improvisor

908 N. Penn St.
Allentown, PA 18102 USA
email: dbops@voicenet.com

Ye Ren - Another Shining Path

Parker is at the center of Another Shining Path, the highly recommended debut by the group Ye Ren, in which he is flanked by Gary Hassay on alto and Toshi Makihara on percussion. You can't go too far wrong with Parker underpinning proceedings, but there's much else to admire here. Hassay is a thoughtful improvisor, convincing in lyric and abstract modes, with a fine sense of shape, texture, and development, and a clear firm incisive tone in all registers. Makihara is an attentive, responsive, and meticulous percussionist, a couple more steps down the post-Murray road. His deft contributions fill out the sound picture of these carfully constructed improvisations. In Improv terms, Another Shining Path is just that.
Barry Wittmerden - The Wire

Ye Ren - Another Shining Path

"Alto saxophonist Gary Hassay leads a stellar trio called Ye Ren (a name with 'no real meaning,' according to Hassay) for its debut recording. The eight tracks are distinguished for their sensitive interplay, synergy, and unique style. With all-star bassist William Parker and sparkling Philadelphia percussionist Toshi Makihara as the other partners, the group achieves something special on almost every cut. Hassay boasts a lyrical, often subdued, self-effacing approach, which puts him in an attractive light. Eschewing some of the postmodern techniques embraced by other freestyle saxophonists, Hassay instead forges a different path, relying on a dry tone, clipped phrases, and short, thoughtful excursions. Makihara continues to impress as an upcoming giant, and fans of Parker will not be disappointed." (3 1/2 Stars)

Steven Loewy - All-Music Guide

Ye Ren - Another Shining Path

Gary Hassay, William Parker and Toshi Makihara, collectively known as Ye Ren, offer their generally calm and reflective free music on Another Shining Path. Altoist Hassay has a fluid and richly-toned sound. His unhurried pacing sets the emotional tone for the music, one of high seriousness and commitment. The music has brief bursts of furious intensity, but even at his most hard blowing moments, Hassay usually retains an appealing warmth to his tone. The deeply grounded woody tone of William Parker's bass is known to all fans of the avant-garde; his tone is very well captured here in an all-digital recording. Makihara stays on brushes a lot and keeps a light touch at the drum kit, with quickly responsive accents and punctuation, plus a variety of bells and chimes to set the atmosphere. The pieces unfold with an almost ritualistic demeanor, no surprise when you read that all three performers work extensively with dancers. Demanding listening, but worth the effort.

IAJRC Journal - Vol 33 No. 3 Summer 2000

Ye Ren - Another Shining Path

"the highest level of logic is the lowest level of magic"

-William Parker

"...(my) intention/aspiration is to become music rather than to produce it."

-Toshi Makihara

Both of these quotes, from the liner notes for this cd, seem to sum up a lot about the sounds on it. Sound that is conjured, second to second, where anything can happen, and frequently does. Hassay weaves lines and stops to ponder them simultaneously. Sparks and harmonics both fly from Parker¹s bow and Makihara keeps popping little bells and bangs in just the right places. It is a great rolling enveloping unfolding THING, and I¹m awfully glad to be along on the ride. It does sound to me like logic is not the motivation here, as it seems to be with much music. But magic does abound, in the flowing out of sound, abetted by the attention each player is paying. To my mind, this is what improvising is all about. No one is taking the center stage here, but they're all three exploring together, hands on their instruments, hearts in the spirit. Odd sounds and tonalities are brought out, always carefully, and no one pushes too hard. Can you tell that I like this disc a lot? I'd like to single out Toshi Makihara for a second, if I may, because he is largely unknown and undeservedly so. I have seen him perform a few times and I'm always amazed and delighted by his playing, his sounds, his MUSIC. If you get a chance to see him play, please don't miss out. I'm glad that there is a disc like this to hip folks to his drumming.

-jeph jerman - the improviser

Ye Ren - Another Shining Path

"Mi papel en cualquier banda, minuto a minuto es ayudar, navegar la musica para que no tenga puntos muertos", ha dicho el contrabajista William Parker respecto a su forma de tocar. Lo que en palabras parece sencillo es todo un reto, maxime si algunos de estos grupos son dirigidos por gente tan demandante como Derek Bailey, Cecil Taylor, David S. Ware, Charles Gayle o John Zorn. Lo mismo sucede en el trio Ye Ren donde el contrabajo man imaginativo de la escena improvisada neoyorquina establece atmosferas, da pie a monologos y conversaciones, y abre la brecha para la experimentacion colectiva con sus companeros Gary Hassy, en el sax alto, y Toshi Makihara, en las percusiones. Se trata del primer disco de Ye Ren, un colectivo que no otorga espacio a las complacencias. En torno a un contrabajo organico, infatigable, profusode ideas, Hassay encuentra un terreno fertll para improvisar desde susurros que semejan una brisa, hasta cacofonias que sacuden los sentidos dek escucha. Makihara y sus percusiones libres tejen sonidos que desafian a sis companeros a hurgar en otros terrenos, mas escarpedos a medida que transcurre el tempo. Del free mas enloquecido al manejo preciso dek silenclo - que tambien tiene su ritmo- Another Shining Path manifesta que sobra creatividad en cada uno de los miembros del trio. Si este es el inicio de una colaboracion impecable, esperamis anhelantes la proxima entrega.

Xavier Quitarto - La Pulse! Latina June 2000

Ye Ren - Another Shining Path

Gary Hassay (as), William Parker (b), Toshi Makihara (dms, perc). Enregistré le 2 août 1998. [Drimala]

L'improvisation est un chemin difficile - l'essence du jazz dit-on - qui met en danger autant celui qui crée que celui qui écoute. Toujours sur le fil du rasoir, les morceaux improvisés que nous livrent Hassay, Parker et Makihara démontrent cette prise de risque permanente. Oscillant entre vaines tentatives et moments de grâce, les trois complices échangent en permanence, se règlent et tâtonnent avant d'être frappés par l'éclair d'une magie symbiotique (" Night Train "). Tandis que Parker utilise toutes les techniques de la contrebasse (dont l'archet qu'il affectionne depuis longtemps) et que Makihara déchaîne ses foudres avec ardeur, Gary Hassay laisse planer sa voix zen qui s'élève dans cette tempête tranquille avant de s'y laisser prendre. Montées, descentes, traversées, égarements, fuites et retrouvailles sont le lot de ce disque touchant et indéfinissable. Comme des personnages de Pirandello les musiciens sont en quête d'une identité, d'auteur et de hauteur, clamant leur liberté en faisant retentir leur chant intime comme des cornes de brume dans le lointain. Objet mystérieux et déroutant, le disque de Ye Ren (le nom sans signification du groupe décidé lui aussi de façon improvisée) s'écarte vertigineusement des normes de l'industrie musicale et nous démontre qu'au confluent de l'improvisation et de la passion se cache un territoire sacré, une mer intérieure où les courants peuvent être plus forts que dans les océans du quotidien. Cette " autre voie brillante " ne s'ouvrira probablement pas au plus grand nombre mais s'impose comme une curiosité essentielle pour les oreilles curieuses.

Michael Lellouche-Le Jazz

Ye Ren - Another Shining Path

By Robert Spencer allaboutjazz.com

Have you ever heard William Parker play bass? If so, are you still unconvinced of his mastery? If Another Shining Path won't convince you, your ears are tragically closed. Take the very first track, "A Fork in the Road." Listen to how Parker weaves bass figures in and out and around the thoughtful alto of Gary Hassay. Listen to how all three players create a new and free soundscape of lyrical depth, without indulging in any of the clichés or tired screams of the now thirty-plus-year-old New Thing. Then see how the temperature slowly rises on "7th Street Prowl." Note how Parker increases the tension, slackens it again, brings matters to a boil, and supports Hassay as he returns again to calm and searching long tones. Nor is even that the end of the ride. This trio shows here that it has the ability to pack worlds, universes, into seven minutes thirteen. "Night Train" continues this action in a somewhat tenser mode, with Hassay fluttering in the high registers as Parker bows mellifluously. Here for the first time Hassay approaches the flat-out horn technique of Kidd Jordan, Charles Gayle, et al, but only briefly, and, with Parker's help, dramatic coherence. "Circumambulate," "It Was Rich's Race," and "Ante Up" are as rich and multifaceted as the rest of the disc, with Hassay particularly strong in the quietest passages. Toshi Makihara is no slouch either. He is stentorian and effective on "Come What May" (where Parker prods Hassay with powerful, intermittent rhythmic figures) and is the prime architect of the delicate, ringing opening to "Northern Lights." All three players, however, (especially Parker and his wonderfully whining bow) contribute a great deal to the crepuscular atmosphere of this piece.

A lyrical, surprising, and superbly executed series of performances.

Drimala Records may be obtained at www.drimala.com.

Track listing: A Fork in the Road / 7th Street Prowl / Night Train / Northern Lights / Circumambulate / It Was Rich's Race / Ante Up / Come What May

Personnel: Gary Hassay, as; William Parker, b; Toshi Makihara, perc.

Ye Ren - Another Shining Path

Having never heard, much less heard of Gary Hassay, Another Shining Path is a revelation. To identify Hassay as the leader of Ye Ren would be to undermine the vision of this group, for this is truly a trio devoid of a soloist and rhythm section mentality. Instead, what this aggregation has in mind is stellar, free-floating, collective interplay. The inclusion of bassist William Parker virtually guarantees a solid recording, but on this he still manages to surprise and delight as he wedges himself between his two colleagues with some of his most demonstrative playing to date (which is no small undertaking). Producer Wayne Becker ahs done an impeccable service to this music, giving each player an equal slice of the sonic pie, allowing for a mix that is equal in clarity to the music itself. Percussionist Toshi Makihara is an amazingly subtle colorist and the delicacy of his approach would surely be lost on an inferior recording. Luckily, there is no such difficulty here, as Makihara's brushwork give the music considerable space in addition to wide dynamic range, especially when entangled with the buzz of Parker's grainy arco. For the most part, Hassay swoops and soars within the group fibers without being dogmatic. His tone is arid, and his attack is incredibly laid back, sounding cautious not to crowd the mix without playing tentatively. While this groups tend to favor reflective, often stealthily exploratory modes of expression, it can still turn the heat up when it needs to without resorting to a squealing assault. While other trios have previously gone down this path, kudos should go out to Ye Ren for really adding their own twist and producing a stirring debut."

Signal To Noise, Sept/Oct 1999

Jon Morgan

Ye Ren - Another Shining Path

"The sound is slow, evolving, and never predictable: the notes call it 'an untethered sphere, continually moving but not simply forward.' You hear that at once, on A Fork In the Road, William Parker mournfully bows, a thick alto drifts notes that cry. The drums, sparse and quiet, play apart from the others; Toshi Makihara gets more active when Parker starts plucking. Gary Hassay is constant, a calm voice when others would go elsewhere. A fork, all right. 7th Street Prowl is more aggressive, Hassay sounding peeved. Parker whips through a dissonant scrape; the drums start racing. Hassay turns to squawking, a clarinet belligerence over deep rhythm. The silences are tense, the fury thick while it lasts. A great rusty yelp is replaced by tiny warbles, and delicate plinks come after bowed static. Like a cat, it goes where it wants. Night Train is rickety and loud, ratchets and bells, busy bows and raucous honks. This is not the Jimmy Forrest tune, you knew that. It belongs to the rhythm: mechanical string figures and great metallic clanks. A picture in sound: Northern Lights opens with tiny bells, and the faintest groan from afar: a factory whistle on a distant shore, Parker grinds low, the reluctant performance of ancient machinery. Hassay jumps in: high wails, then rusted howls. The groans ebb and flow, joined by loose metal, or a whiff of harmonica. A great crashing fury, and then nothing: Parker walking away on a most uneasy morning. Rich's Race brings some quiet: as Parker walks, Hassay has a look around, a smooth tone and a nice vibrato. Makihara storms (the cymbals are really nice) but all is well. Some dissent at the end: Parker makes like the creaking of a weathervane. But the mood remains; free, but not wild. Ante Up smells of the tough street: persistent drums, a rapid skip from Parker, and Hassay turns gritty. He honks, but not all the time; he's soft, but with strength. 'Don't mess with my turf,' it says, and you pay attention ---it's the best here. It's a different kind of record --- no structure, but persistent moods, dissonance used in a quiet way, and consistency amid unpredictability. It's very peaceful for avant-garde, and if you're in the mood, you might take this path.

Green Mountain Jazz Messenger, Vol. Three, No. One, Sept/Oct1999

John Barrett, Jr.

Ye Ren - Another Shining Path

"This trio's compelling rapport grows as their dynamic program unfolds. During the slow free blues pulse of It Was Rich's Race, bass maestro William Parker alternates between pizzicato and split-tone drone arco passages with awesome ease. Drummer Toshi Makihara matches Parker for expressive range and dramatic technique from delicate percussion fills in A Fork In the Road and Northern Lights to the brash bite of Ante Up. Gary Hassay's vibrant alto sax animates vital band performances from the free fractals of Night Train and spacious minimalism of 7th Street Prowl to the intensifying aggression of Circumambulate."

Coda, Issue 287, Sept/Oct 1999

David Lewis

Ye Ren - Another Shining Path

"The Shennongjia mountain territory north of the Three Gorges of the Yangtze River is historically renowned in Chinese history as a veritable wellspring of herbal medicine. To this day, the area is well known for its singularly unusual plant and animal life. Many sections of the region remain uninhabited and unexplored. But the most legendary of the indigenous creatures to the rocky, craggy terrain and steeply sloping valleys is the "ye ren" ("wild man" or "night man") which is also called "yeti", or, in somewhat vulgar English, "Chinese Bigfoot". Like its Pacific Northwest "cousin", this large nocturnal primate has consistently been successful in eluding would be captors. If it were not for the occasional sighting, unverifiable by any means except for the memory of the individual sighting it, the ye ren would rapidly vanish exclusively into the realm of the imagination. Or would it? Perhaps the imagination is the only place in which to capture the uncapturable, to achieve a fix on a discrete moment in time and articulate on it even as it slides by and vanishes, to give realizable form and substance to the unseeable and unknowable. If so, then attempting to describe the music of Ye Ren, a freely improvising trio consisting of alto saxophonist Gary Hassay, the ubiquitous bassist William Parker, and percussionist Toshi Makihara is as hopeless as attempting to capture it’s namesake (more on this in a moment). Ye Ren is essentially led by Mr. Hassay, that is if anyone can truly claim to "lead" when creating music of this type (i.e., requiring intense interaction and equal cooperation amongst all participants). Although Mr. Hassay has been actively performing since 1979, ANOTHER SHINING PATH is only his second recording, the first being his solo cd A SURVIVOR’S SMILE (1996, Dbops Music). According to his biography, "interdisciplinary coll target=otheraborations" have occupied his primary interest since 1985. Since that time, he has participated in numerous projects for dance and "action painting". During this time, Mr. Hassay has also found opportunity to perform with a diverse range of musicians including Fred Frith, Tom Cora, George Cartwright, Andrew Cyrille, Gerry Hemingway, Peter Broetzmann, Wadada Leo Smith, and Milford Graves. He is also the President and founding member of improvisationalmusicco., inc. (improvco), a not-for-profit corporation based in Allentown, PA and has received funding from Meet the Composer, the PA Council on the Arts (Fellowship and Artist in Education) and the Painted Bride (NEA regional interdisciplinary grant). All of the performers in Ye Ren are obviously highly skilled musicians and listeners. The music ebbs and flows, ideas linger, vanish, reappear, all seemingly suspended in space and rotating about the coordinate axis for each of its three dimensions. The aforementioned interest in interdisciplinary collaboration is abundantly evident in the music recorded here. Each of the musicians is experienced in working with dancers. But perhaps this is where the music seems to lose its grasp on this particular listener’s attention. There seems to be a visual or other sensory aspect lacking. While all three musicians are communicating, they seem to be describing forms and substances that only they can detect. Hence, it seems a private conversation that the listener is merely eavesdropping on instead of participating in (albeit not as a performer). The abstract and amorphous remain so, the listener is left groping for an aural hold. Of course, the possibility exists that the musicians themselves are attempting to seize hold of something that is eluding their collective grasp. In that event, the listener could inevitably be trying to play catch up, tossed in the wake of someone who themselves are in hot pursuit of a rapidly moving and evolving phenomenon. This might seem to be a harsh condemnation but it isn’t intended as such. It should be further emphasized that none of this is to imply that ANOTHER SHINING PATH is a boring or bad outing. Fans of William Parker will undoubtedly find much to cherish in this clean, uncluttered, and well engineered recording. So again, return to the name Ye Ren. In the liner notes, Mr. Hassay states that the name has no real meaning and that its significance lies in the way it sounds. Ultimately, that may be all that matters with freely improvised music, namely the way it sounds. The listener must often find his or her own meaning and consensus is unlikely. Beauty, enjoyment, or even 'entertainment' is purely of the moment and resides entirely within the ears and imagination of the individual. In conclusion, it must be noted that ANOTHER SHINING PATH is also the first release on the Drimala Records label. From the liner notes: 'A portion of all Drimala Records’ proceeds are given to bring a small measure of love and hope to the homeless who but by an accident of birth could be you and I.' On the basis of this sentiment alone, it is suggested that Drimala Records is a label that should be closely watched and strongly supported."

All About Jazz, July, 1999

Allen Huotari

Ye Ren - Another Shining Path

"Another Shining Path features a freely-improvised trio that unites alto saxophonist Gary Hassay with veteran bassist William Parker and Sino/New York percussionist Toshi Makihara. Rippling, flowing compositions move with an uncanny, of-the-moment logic that resembles free thought. With this CD, the internet-only Drimala record label is staking a bold claim as one of the most adventurous new music labels in the jazz community."

CMJ, April 26, 1999

James Lein

Ye Ren - Another Shining Path

"Ye Ren (Gary Hassay/William Parker/Toshi Makihara) - ANOTHER SHINING PATH: 69 minutes of improv that will thrill those who can’t deal with form. Hassay’s sax will be the "frosting on the cake". This material is deliberate, & (at times) a bit slow paced for blood that’s used to improv that screeches along at rocket pace (one notable exception to that rule is cut 7, Ante Up, which clips right along nicely). OTOH, if you’re in a reflective mood, & want something that will help you sort the wheat from the drivel, this is the right path for you. I’d advise the listener to settle in somewhere comfortable with a good set of headphones. Makihara’s percussion & drums are miked perfectly, as is Parker’s acoustic bass. The players have a real sense of "team", to the listener’s benefit… no battles over who gets in front, very nicely blended & a great mix! Comes HIGHLY RECOMMENDED for those who want some skillfully played contemplative improvisation."

IMPROVIJAZZATION NATION, Issue #37 (April 1999)

Dick Metcalf

Dbops Pollittics
Gary Hassay and Dave Pollitt

Gary Hassay/Dave Pollitt - DBOPS POLLITTICS: Though I'm not 100% positive as to the political intent (& who would WANT to be, on an improvised album, anyway), this is one HECKUVVA CD! Excursionary, there are trade-offs & switchbacks throughout between Gary's alto & Dave's violin highs & lows. They were at a (relatively) slow pace, no scorchers speedwise, but from the standpoint of intricacy, this outing will astound even the most hardcore of improv listeners (& players, for that matter). As with any improvised recorded music, it's much better in live performance, but Dave & Gary have managed to capture a great deal of that ambience through the close attention they pay to each other. They also are able to avoid the "squeek/whistle" mode often associated with violin/sax improv, which will make it accessible to a much broader audience. For the pure improv-head & the dabbler alike, this will be pure pleasure, & a "keeper"! If you haven't "dabbled" (with improvised/freestyle music) before, this would be an excellent place to start. It gets our MOST HIGHLY RECOMMENDED, without qualification! Contact at 743 N. 19th St., Allentown, PA 18104, or via email to dbops@voicenet.com

Rotcod Zzaj