John Gunther's Axis Mundi

Axis Mundi refers to the place
where human consciousness reaches for the eternal, where the earthly realm meets the spiritual.
Ancient cities were often constructed in a circle,
a mandala of sorts, in which the center or axis would contain a structure of great height
from which the gods might be closer at hand.
There are many such points of union·
like a song, a dance, or a prayer.

1999 Cadence Readers Poll Top picks for new issues in 99

FEATURING:
John Gunther - Saxophones, Flute, Clarinet
Ron Miles - Trumpet
Rob Thomas - Violin
Leo Huppert - Bass
Jay Rosen - Drums

FEATURING:
John Gunther - Saxophones, Flute, Clarinet
Ron Miles - Trumpet
Leo Huppert - Bass
Jay Rosen - Drums

CD"s can be ordered directly from CIMP/Cadence Records at this website:

http://www.cadencebuilding.com/Cadence/CIMPCD%27s.html

"No musical stone is left unturned as this ensemble deftly navigates through a jazz or hip-hop groove, a waltz, or a free improvisation." -Nicholas Gregory

What a pleasure it is to listen to music that flows logically, to musicians who listen to each other, reacting and interacting as a group, to a composer who knows what it is he wants yet leaves room for the individual. Above Now Below is the 3rd John Gunther CD IÕve gotten to review . David Lewis reviewed GuntherÕs first CIMP release and IÕve liked each one. While the rhythm section has remained a constant on his 3 CIMP CDÕs, the group has expanded yet again with the addition of violinist Rob Thomas.

For this program, Gunther has arranged the pieces into 3 distinct suites, each recorded in a single take. ÒAboveÓ consists of 5 tunes. The boppish ÒSpeonkÓ open the short set with a unison riff over Jay RosenÕs snappy drum work and contains a rollicking tenor solo from the leader. Ron MileÕs trumpet solo goes off in a different direction , riding atop Leo HuppertÕs billowing bass lines. Thomas gets the third spot - I like his bluesy riffs and direct attack. That piece gives way to the reggae lilt of ÒDeja VuÓ with GuntherÕs melody sounding like what one might hear in the early evening in Jamaica. The third section goes in a totally different direction - the ÒfreeÓ wanderings of ÒMatter (of Choice)Ó has opening horn murmurs that echo the melody of the previous tune. This starts easily, with MilesÕ growing lines reminiscent of Lester Bowie before giving way to a bass (slow lines) and drums (Rosen moving swiftly around the kit) dialogue. The horns and violin intersperse short phrases as the dialogue builds in intensity. Thomas works up in the violinÕs higher registers for his short, frenetic solo while Miles works off the patterns of the rhythm section to lead the quintet into a short ÒopenÓ section. That songs stops abruptly, leading into the lovely ÒCountry WaltzÓ, a ÒsweetÓ melody that features GuntherÕs handsome clarinet work. Rosen really captures the gentle quality of the piece with his quiet brush work while HuppertÕs melodic lines serve as counterpoint to the melodies that the soloists create. The first suite ends with ÒChant #1Ó, a trance-like rhythm with a country blues flute melody from Gunther - Miles originally stays behind the flute then insinuates his phrases into the mix, reminding this listener of Don Cherry. This suite lasts almost 30 minutes yet moves so seamlessly time becomes irrelevant.

The second suite, ÒNowÓ, consists of only 2 pieces; the bluesy ÒBwee-AahhÓ features more fine clarinet work from Gunther and tight ensemble work while ÒIntransitÓ shows the influence of Ornette ColemanÕs ÒLonely WomanÓ in its extended melody line and mournful theme. Rosen leads the ensemble into the body of the piece with an insistent cymbal line. What a fine mix of sounds from the violin, soprano sax, and trumpet - Miles is so understated yet vital to the integrity of the music. This is a piece where no one steps out yet all 3 players in the front line are improvising. It hearkens back to the early days of New Orleans Jazz - without sounding at all Dixieland or Òtrad Jazz,Ó ÒIntransitÓ is a logical extension of that form. ÒColemanationÓ, a vehicle for strong solos from Gunther (on tenor), Thomas, and Rosen (utilizing his entire kit). ÒGoinÕ Inside That BatcaveÓ has a ÒPeter GunnÓ feel to its rhythmic intro and a Horace Silver quality in its soulful melody line. ÒNickÕs First LullabyeÓ is dedicated to the leaderÕs son and features more fine ensemble work and a plaintive melody. ThomasÕs lines are evocative of a country fiddler (Richard Greene and Vassar Clements come to mind). ÒFolk SongÓ has a harder attack from the rhythm section yet the melody lines retain the soulful feel of earlier pieces. GuntherÕs short solo over RosenÕs splashing drums is a highlight of the piece. The composition contains short sections for quartet, trio, and duo statements yet never feels disjointed. The final suite and the CD close with ÒChant #2Ó, which opens somewhat discordantly them moves into the quiet give-and-take which was a feature of ÒChant #1Ó.

Above Now Below is a listenerÕs recording. ItÕs often quiet, there are not many long solos yet plenty of melodies, and is a model of intuitive interplay. John GuntherÕs melodic music is right at home on a label that prides itself on recording top notch improvising musicians - his style is built from logical material that has been worked on in clubs, concerts, and in the studio. You can tell that these musicians were not reading these charts for the first time because the kind of intimacy one hears in this program cannot be scripted. If you don not own a John Gunther recording, itÕs hard to say where to start - you would not go wrong buying all three.

Besides the properties of improvisation which are to be expected on label calling itself Creative Improvised Music Projects, John Gunther brought to his first CIMP session (#136) a very strong foundation of melody and composition. For this session John again brought together the very capable (they're so much more than that) company of Leo Huppert and Jay Rosen, but this time he adds the hamony: the dynamic harmony of trumpeter Ron Miles.

Ron's trumpet style is rooted in broad range of Jazz history, though here it's decidedly unMilesian. John and Ron first met in 1984 at Denver University, though ironically their musical involvement expanded after John moved to New York. Ron continues to live in Denver. But it's obvious, in many ways, that theirs is a harmonious relationship and at times suggestive of a classic trumpet/sax front-line.

Again, composition is one of the dominant properties of this music and if you're familiar with Permission Granted (CIMP 136) hearing this release should renew for you the joys of John's compositional abilities. And, on the basis of these 2 dates, it suggests to me that we are seeing the emergence of one of improvised music's best composers this side of Cedar Walton and Charles Mingus.

While the group was warming up and getting the audio dynamics in order, I was enthused, hearing new compositions with a familiar style. And as the set unfolded I found it hard to hear the whole as I got caught up focusing on the different elements of the music. John Gunther's music is multifaceted and it unravels like a surprise ball: one gets caught up in one of its gifts while another unravels and passes almost unnoticed. For example, while enjoying "The Collective" you might getcaught up in its spiritual lines and not notice Jay's aggressive attack or Ron's crooked solo over John's harmony while, from underneath, Leo emerges. Attention shifts, and then you're aware the piece is finished before it was over for you.

All of the pieces have their own distinctive personalities: humorous, cheekily impressionistic, in & out of time, hamonic and inharmonic, punchy or pondering. This is music with many personlities and pleasures, many pleasures.