what a fine trio this was at interpreting Cowell’s unique and original compositions.
ECM 1026 / 450 5321 (ECM Luminessence series –LP)
Stanley Cowell (piano); Stanley Clarke (bass); Jimmy Hopps (drums)
Recorded November 29, 1972
The Luminessence series of reissues continues with the welcome reappearance on vinyl of pianist Stanley Cowell’s Illusion Suite, an album that retains its mystique and staggering level of invention more than fifty years after it was first released in 1973.
Another one of those what if scenarios, as Cowell and Manfred Eicher seemed an obvious match in terms of their musical aesthetic, this would be the pianist’s only recording for the label. Shortly after, Cowell pursuing his own path set up his own label Strata-East with trumpeter Charles Tolliver. It would have been interesting to see how things would have panned out if Cowell had stayed with the label, and more than likely would have recorded a solo piano album to add to the ECM roster of recordings by Keith Jarrett, Paul Bley and Chick Corea all recorded around this period of time.
Having said that Illusion Suite remains an important in both the label and artist’s discography with a one-off trio featuring drummer Jimmy Hopps who would continue to work with Cowell and also Charles Tolliver, and Stanley Clarke heard on both double bass and bass guitar.
There is little doubt that this is a carefully prepared set with all the compositions written by Cowell for the trio and use of studio overdubs. Hence, both Clarke and Cowell are heard on electric instruments that are overdubbed into the fabric of the material but done in such a subtle way that it never disturbs the natural flow of the music in what is essentially an improvising trio.
Cowell’s composing allows his ideas to flow, often at an alarming rate. If this means that the music is in a constant state of flux with new patterns and motifs morphing from one to another, it is never done for the sake of diversity for its own sake but because the creativity of the participants enable them to pick up the ideas quickly that permits the music to flow albeit in a sometimes unsettling manner.
The opening ‘Maimon’ opens with Clarke’s arco double bass and overdubbed plucked bass guitar vamp that gives way to the sound of the acoustic instrument after the theme as Cowell makes much of the melody and possibilities within the composition over the steady bass line and unobtrusive yet supportive drumming of Jimmy Hopps. In contrast, rapid flurries of notes from the piano introduce ‘Ibn Mukhtarr Mustapha’ before a steady pulse is established first by Cowell on piano before switching to the electric keyboard as Clarke and Hopps enter. Seemingly, producer Manfred Eicher has already decided on the sound he wants from the double bass, and one cannot fail to notice how the trio with the electric piano sounds like Return To Forever. Moving quickly on, Cowell again switches instruments to the mbira or African thumb piano over the bass and some compelling drumming from the oft overlooked Hopps. The drummer also excels on ‘Cal Massey’ dedicated to the trumpeter who sadly passed a month before this session took place.
Things get a little funky with ‘Miss Viki’ with Clarke’s bass guitar and clever use of overdubs that find Cowell playing both electric and acoustic piano over a tight groove, with the pianist breaking up his lines as if in defiance of the rhythmic momentum being laid down by bass and drums.
Dedicated to his piano tutor at Oberlin Conservatory, ‘Emil Danenberg’ is a reflective piece that retains a restless and exploratory feel with Cowell throwing up a multitude of ideas throughout its duration. This probing approach continues with ‘Astral Spiritual’ that brings to a close this compelling re-issue and again serves to demonstrate what a fine trio this was at interpreting Cowell’s unique and original compositions.
