The Abysmal Richness of Infinite Proximity of Same

The Abysmal Richness of Infinite Proximity of Same

Editorial Reviews
From Jazziz
The second CD by keyboardist-composer Coleman's Selfhaters is a precious affair, in every sense. It presents music to cherish and sound to invest with attention despite its strange fragility - or because of it. The 22-minute title track unfolds at a snail's pace, each player

circling cautiously around a given pitch or limited gesture, as if boldly projecting anything more would endanger what German composer Richard Wagner is quoted in the liner notes as referring to as "the gently vibrating line of beauty."

Wagner is also quoted as saying that it's impossible for the Jew to achieve, given "the hurried, the restless, the unstable elements ... which we have recognized as Jewish." This music, then, is an act of defiance, rather like an early Christian turning the other cheek to an aggressive attacker; it's the radical Jewish jazz counter-defense of "So you say I am, so then will I be."

Coleman's purposeful downplay of melody and obvious rhythm, and his refusal to display florid technique is self-abnegation in submissive embrace of Wagner's stereotype. If he can get his band to quiet down, to rein in unstable impulse, and to concentrate on the vagaries of intonation and propulsionless line, he will achieve what Wagner claimed was impossible, yet sound more "Jewish" than ever.

What does so much theory sound like? Peaceful tones, dissonant pitches, and scratchy yet transparent timbres project gradually over an open expanse of uncounted time. The pianist briefly states a case, then stumbles, repeats himself, and, as if succumbing to a personal failing, reaches into his open instrument to yank a tone from one of the implacable wires. The reedsmen (Micha'l Attias, Doug Wieselman), cellist (Fred Lonberg-Holm), and percussionist/trumpeter (Jim Pugliese) nudge each other, phrasing off but nearly together, like old men praying. When they unexpectedly arrive at a unison cry in "Fifty-Seven Something," the effect is shocking. But they don't want to over-tax you. There is nothing much to take in here - just the pathetic little sounds some Jewish (East) villagers dare to eke out.

Is that OK, Mr. Wagner? Or would you and your heavy-metal friends consign this patently exotic, profoundly contrary, superficially pathetic, but insidiously proud and original music to some closely guarded, No Exit version of hell?

The Abysmal Richness of Infinite Proximity of Same,The Selfhaters,Tzadik,Jazz,Jazz Music,Jewish Music,Modern Composition,Pop,Post-Bop

Jazz Music: The Abysmal Richness of Infinite Proximity of Same

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