Avant-garde jazz is challenging music. One must listen to it with open ears and an open heart. Rarely in any type of music is such naked, authentic emotion displayed and elaborated on with such intensity and direction. Of course, there are folks who would say that this music is simply directionless noise, but the Backstreet Boys have been fashioned for those less-evolved species. In New Orleans, there is a small but vocal contingent of people who eat up avant-garde and improvisational musics voraciously. These people know that New Orleans is lucky to have in its environs one of the acknowledged-around-the-world masters of this and many other musics, Edward “Kidd” Jordan. Jordan’s recordings are rare, and any release of them is cause for celebration, so break out the champagne in honor of 2 Days in April: Fred Anderson, Hamid Drake, “Kidd” Jordan, William Parker on Eremite Records.
This two CD set was recorded in Massachusetts on the first and second of April 1999. It teams Jordan with saxophonist Fred Anderson, one of the founders of the American Association of Creative Musicians and owner of the Velvet Lounge in Chicago, over one of the most in-demand avant-garde rhythm sections, bassist William Parker and drummer Hamid Drake. The music sounds almost completely improvised. It seems like they all got onstage and hit it. Many times, this can be a recipe for disaster, but all these players have cultivated the skill of listening to each other. It is evident in the saxophone exchanges between Anderson and Jordan. At times they do call and response, but they also improvise parts and solos that complement each other beautifully. Their playing is not just notes but sounds. At times it is fiery and ferocious. At times it is serene and peaceful. At times it roars like lions and sings like humpback whales. Always it is moving. There is something in it that wraps up the listener and takes him or her with the musicians. Drummer Drake is on top of instrument, carrying on conversations with the reeds players with accents on the snare and hi-hat as well as laying the foundation for their collective soloing. Bassist Parker is especially on target in his solo to start off the second disc. As the saxophones slowly come in, the music begins to build and doesn’t stop until the end of the disc 45 minutes later. It is a terrific performance, varied in style and tone.
Although some folks will be scared off by the words avant-garde, it is an all-encompassing term. On 2 Days in April: Fred Anderson, Hamid Drake, “Kidd” Jordan, William Parker, there are elements of animal calls, Charlie Parker, Jimi Hendrix, Chicago blues, and New Orleans funk. The four musicians on the two discs here take from all these forms of music and make it into something profound, beautiful, and powerful. This is an excellent, passionate recording.
