Ras Moshe Quartet
Transcendence
KMB007
 
 (US)  (World) Recorded and mastered by Jim Clouse at Park West Studios, Brooklyn January 2007 Cover and back covers by John Rogers Interior illustration by Lila Jarzombek Layout by Eric Devin Ras Moshe: tenor, alto, flute, compositions Dave Ross: guitar, compositions Shayna Dulberger: bass, compositions Charles Downs (Rashid Bakr): drums, percussion 1 Transcendence 2 Far Sight 3 If You See Something, Say Something 4 Sun Room 5 Flute Peace for Charles Lloyd 6 All Flow 7 Carol Not Christmas 8 Interstellar Brooklyn 9 Turtles All The Way Down    Transcendence finds veteran New York City reeds player Ras Moshe (alto, tenor, clarinet, flute) teaming with Rashid Bakr (drums), Shayna Dulberger (bass) and Dave Ross (guitar) for his first studio release in four years. Following a string of successful live recordings on the Utech label, Moshe has entered the venerable Park West Studios (William Parker, Mark Feldman, Ken Hatfield) in Brooklyn to work with renowned engineer Jim Clouse. The product is six new compositions by Moshe, augmented by two from Ross and one from Dulberger. With both feet planted firmly in improvised jazz’s past and both ears stretching toward the future, Moshe’s unique conceptions are vividly brought to life by this powerful group. 1000 copies pressed March 2007. Downloadable press sheet (rasmoshepresssheet.doc) Reviews: Jazztimes.com, December 2007 “#10, Best of 2007” - Evan Haga Jazzword.com, November 2007 Geography is sometimes an extraneous element when it comes to creativity, as two accomplished New York-based saxophonists demonstrate on CDs with their own bands. Part of the fourth – or is it fifth or sixth (?) – generation of non-mainstream players, reedists Ras Moshe and Saco Yasuma sometimes work together in various ensembles – most notably trombonist Steve Swell’s big band – but their backgrounds couldn’t be more dissimilar. Japanese-born, Yasuma, who plays alto saxophone and xaphoon or bamboo saxophone on Another Rain, took up saxophone when she moved to New York a dozen years ago in order, she says, to reflect her voice and breath. Moshe, who plays tenor and alto saxophones, clarinet and flute on Transcendence is in the ecstatic tradition of John Coltrane and Frank Wright, is a proud Brooklynite and has been one since birth. His quartet is divided between veterans and tyros. Bassist Shayna Dulberger is a well-schooled player, who also plays in other New York groups such as the Introscopic Music Ensemble. A Bostonian who played with drummer Dennis Warren’s FMRJE, guitarist Dave Ross is also a member of the Synergy band with Moshe and Yasuma. Drummer Rashid Bakr, on the other hand has been part of many Free Jazz combos since he first worked with pianist Cecil Taylor in the 1970s. Bakr, and brassman Roy Campbell, who is featured on Yasuma’s CD, are part of the co-op Other Dimensions in Music combo. Other Another Rain participants include bassist Ken Filiano, who works with bands on both American coasts and internationally; pianist Andrew Bemkey, who has played with Campbell and bassist William Parker; and percussionist/producer Michael T.A. Thompson, another associate of Campbell and Parker. A defining characteristic of both CDs – recorded by happenstance one month apart in the same Brooklyn studio – is their rhythmic accessibility. Avoiding heavy back-beat emphasis, the tempo arises generically from the performances themselves, with the rhythm sections – especially the bassists – holding down the pulse and serving as connective tissue for the improvisations. This is most apparent on Transcendence’s “Turtles All The Way Down”, which contrapuntally matches the slap-bass lines of composer Dulberger, swelling reed bites from Moshe and note-crunching, slurred fingering from Ross. Although the guitar part is a bit too upfront in the mix – as it is throughout the session – Ross’s display of intricate finger picking follows its own path as Bakr strikes small percussion instruments and Moshe sounds a Tranesque line. Echoes of Trane – and one of his disciples on “Flute Peace for Charles Lloyd” – permeates the saxophonist’s playing on the CD, and never more so than on the 10½-minute “All Flow”. Encompassing scene-setting, Jimmy Garrison-like bass work, Bakr throwing down ratamacues, rolls and bell rattles, plus distinctive acoustic guitar comping from Ross, this is Moshe’s showcase from beginning to end. Tonguing double and triple flutters from his tenor, the saxman turns to side-slipping obbligatos and extended arpeggios that intensify as they expand. After bowed bass and distorted, slack-key guitar frails distend the compositional shape still further, Moshe re-enters the fray with a reed-biting variation of the theme – which he then proceeds to shred with altissimo shrieks and falsetto growls. On top of widening downstrokes from Ross, the saxophonist finally relaxes his lip enough to restate the head. Despite numerically more instrumental firepower, there isn’t the same contrast between light and darkness, buoyancy and bulk on Another Rain, Yasuma’s debut disc. Working further into the tradition than Transcendence, the CD features frequent call-and-response passages between the front line and the rhythm section... ...While neither CD is so outstanding that it’s likely to broadcast the reputation of either saxophonist beyond the confines of the non-mainstream, each shows considerable degrees of style and originality. Remember for instance, how many sessions Coltrane and Jackie McLean recorded before they became standard bearers. Similar maturing and style codification characterize these early efforts by both saxophonists. - Ken Waxman Summer 2007, Signal to Noise #46 Brooklyn-based reedist Ras Moshe has made a name for himself over the past several years as an active member of Brooklyn's Free Jazz Society with his own Music Now Society (sic). Here, Moshe offers his strongest outing yet, proving himself a player of depth and focus, favoring round edges and a flowing legato style. For Transcendence, Moshe has assembled a quartet consisting of guitarist Dave Ross, bassist Shayna Dulberger and drummer Rashid Bakr for nine compositions, six of which were penned by Moshe. They carry the influence of his interest in positivity and spirituality, mixing in straightforwardness and fiery intensity, with most of the music using theme-solo-restatement to incite improvisation. It is this diversity that sets Moshe apart, by eschewing the concept of nine slices of vapid modality or bashing, rudderless improv, rather, the group is comfortable in diverse settings. The opener, "Transcendence" is an example of the group's midtempo swing, with a melodic string that sticks in one's head, though Bakr sounds somewhat clunky in this setting. Along similar constructs, the fluid thoughts of "All Flow" reflect Moshe's introspective and melodic devices, with a strong solo from Dulberger. Moshe's highmarks, especially in terms of solos, emerges during the crescendos of the waltz-based "Sun Room," as well as the spiritual realms of "Far Sight" and the hushed, AEC-like flute/percussionistic "Flute Peace For Charles Llloyd." Workouts like the searching "If You See Something, Say Something," Dulberger's sprightly "Turtles All The Way Down" and the obvious ode to the Coltrane/Ali duets from the sixties, "Interstellar Brooklyn," all represents Bakr's best playing of the record, with his rolling style that fits the forward momentum generated. The real find here is Ross. With s moody timbre and a wicked sense of percussive prickliness, the guitarist's harmonics glisten on "Far Sight," soar on the elliptical dots of "All Flow" and undulate on his potent "Carol Not Christmas." – Jay Collins June 2007, All About Jazz Saxophonist Ras Moshe has been gradually making a name for himself as one of the best of the fiery saxophonists of the New York underground. He's released a series of limited edition live recordings on the Utech label that have impressed those who have heard them (unfortunately a small number of people). Now comes Transcendence on the Kordova Milkbar label, not much more high profile than Utech but I suspect they may be a little more readily available. Transcendence is a quartet date with Moshe's working group featuring Dave Ross (guitar), Shayna Dulberger (bass) and Rashid Bakr (drums). On this disc, Moshe proves himself to be a saxophonist very much in the tradition. Those who scoff at that idea are those who have yet to come to grips with the idea that the tradition now includes John Coltrane, Albert Ayler and Archie Shepp. While Moshe clearly derives inspiration from these players, his sound is unique: dry, a bit tart, with a strong booming presence in the lower registers. The surprise of this disc is Ross who obviously listened to Sonny Sharrock and whose fast strumming, when dueling with Moshe during the disc's several collective interludes, recalls that past innovator. He also has a ringing tone that frequently fleshes out the quartet sound in a unique, almost orchestral manner. Dulberger is a powerful force in the lower end. Her presence, frequently a low growling rumble, bristles with energy and gives the music its forward momentum. Bakr's multi- directional drumming is as effective as when he stoked the fires of the Cecil Taylor Unit 25 years ago. The program consists of nine diverse compositions: two by Ross, one by Dulberger and the rest by Moshe. The leader's title track alternates between a medium tempo swing and a slow balladic section. "If You See Something, Say Something" is a free jazz blowout, short, to the point and clearly articulated. Ross' "Sun Room" starts as a pleasant, relaxed waltz that builds wonderfully to an intense peak in what is perhaps the best group performance on the disc, Moshe really digging in on this track. With Transcendence Moshe's quartet stakes its claim to being one of the more exciting groups on the scene. -Robert Iannopollo KJFC, March 2007 Ras Moshe (reeds, flute) and company represent the Brooklyn style of jazz ("lots of sun and peace!" he says) on this fine 2007 studio effort. He has his own style on tenor sax, tending to play with a relatively smooth, non-raspy tone, but he can definitely take it outside when the situation calls for it. Veteran drummer Rashid Bakr has played with many of jazz's big names,and this group benefits greatly from his first-rate touch and timing. Bassist Shayna Dulberger is new to me, and, as young as she is, she handles her tasks admirably. Sometimes, though, I wish she was a bit higher in the mix; when all four members are playing together, it can be hard to hear her. Guitarist Dave Ross provides a wide variety of jazz and not-exactly-jazz sounds that are right at home in this outfit; he does a nice job with mellow jazz chords and gently chiming harmonics, and he also unleashes rippling Sharrock-like bursts that really light a fire under the band. Standout tracks are:#1 is a sweet and swinging tune featuring Moshe's tenor, with some wild guitar/bass/drums soloing in the middle. #5 is a Charles Lloyd-like flute/percussion peace piece. #8 is a blazing tenor sax/drums duet that threatens to tear the damned roof off. -Max Level Soundofmusic.nu, August 2007 “llt är inte dunder och brak när det gäller frijazz från New York. Saxofonisten Ras Moshe som funnits på scenen ett antal år och som ännu inte nått det stora genombrottet är ett bra exempel på det. Visst har han en ton som kan – och även gör det – skära genom ljudbilden med både övertoner och kraft. Men på ”Transcendence” lutar det mest åt en ödmjukare inställning med en frijazz som hämtar mycket av sin inspiration från John Coltrane innan han lade in överväxeln i slutet av karriären. Det kan tilläggas att skivan dessutom är dedikerad till Coltrane, men också till Brooklyn. Ras Moshe briljerar på saxofonen, hans ton är klar, fyllig och rund när han virvlar runt i snabba tonföljder eller låter tonerna flyta ut i mjuka svep. Den spirituella känslan i ”Far Sight” är slående och i både titellåten och ”All Flow” vecklar Coltranes ande ut sig med extra stor verkan. Gruppens sound är tilltalande naket och nära och inte minst den intressante gitarristen Dave Ross sätter prägel. Med flinka fingrar och många anslag växlar han mellan ackordspel och torra utväxlingar som river tag i ljudbilden likt en tidig Sonny Sharrock. Men även här finns en ödmjukhet inför uppgiften, även om intensiteten dras upp i tätt spel blir det aldrig hård kall taggtråd. Det är som att glädjen vinner över ilskan. Men Ross och ännu mer Ras Moshe travar även ut i hårdare terränger. Inte minst i de snabba ”If You See Something, Say Something” och ”Interstellar Brooklyn” där Moshe ivrigt och ihärdigt blir råare och mer aggressiv. Basen spelas suveränt av den unga Shayna Dulberger och trummorna av den äldre Rashid Bakr som är den mest välrenommerade av musikerna, bland annat var han under några år med i Cecil Taylors grupp. Tillsammans driver de upp den rytmiska intensiteten på ett härligt sätt.” -Magnus Olsson Lira.se, November 2007 “Frijazz. Många associerar fortfarande frijazzen till atonala effekter och en radikal nerbrytning av alla musikaliska formelement. Frijazzen föddes dock som melodiimprovisation. Som metod kan den likaväl användas för att skapa harmoniska tonflöden, som för att uppsöka tonalitetens utmarker.Transcendence med New York-musikern Ras Moshe speglar båda linjerna. På saxarna har Moshe en tjock och fyllig ton som Coltrane och Rollins, på flöjten skapar han en skör skönhet. Han växlar mellan flödande melodiimprovisationer och abrupt korthuggna fraser som i den intensiva Interstellar Brooklyn, där han även rör sig mot en radikalare kritik av musiken som struktur och mönster.Gitarristen Dave Ross driver på med tungt ackordspel men river också i ljudbilden med snudd på ilsket uppbrutna figurer, hela tiden med kreativ fantasi. Veterantrummisen Rashid Bakr och unga basisten Shayna Dulberger backar lyhört, men fullföljer också sina egna infall” -Magnus Eriksson Foxy Digitalis, May 2007 “Ras Moshe does look back, but only to remember those who came before. This set of free jazz looks to the future and, as is often the case in jazz, it is the band that pushes the leader to new heights. Moshe plays alto and tenor as well as flute on this, his first release. While his tone is firmly in the NYC improv school, his vision extends beyond history lesson. In that sense, the record’s title is fitting. “Sun Room” and “Interstellar Brooklyn” are the key tracks, though a personal favorite is “Flute Piece for Charles Lloyd.” In each track, the band adds muscle and warmth, their bridges literal in the sense of wedding the past with the personal. These are tracks, like many before them, that serve as maps for future explorers. Drummer Rashid Bakr is the engine of the set. Drummers have the most freedom in jazz, and the best use it up greedily. Bakr drives the rhythm of the tunes but also challenges their structure, pushing the band to reach just a little bit higher. This set reaches higher ground often, and in style.” 7/10 -Mike Wood freejazzstef.blogspot.com, July 2007 “Ras Moshe is a New York free jazz saxophonist. He had already released some albums on the Utech label of doubtful sound quality. This release is much better recorded and offers the quality the music deserves. With Dave Ross on guitar, Shayna Dulberger on bass and veteran Rashid Bakr on drums. Moshe is a powerful sax player, the music itself belongs to the post-bop and free-bop subgenres. Intense pieces alternate with softer ones.” Downtown Music Gallery, April 2007 This the 7th disc as a leader from our good friend and local jazz historian, Ras Moshe, featuring Ras on tenor sax and flute, Dave Ross on guitar, Shayna Dulberger on contrabass and Rashid Bakr on drums. I am not familiar with the guitarist, Dave Ross, on this disc, but Ms. Dulberger has been playing with Ras for the last year and seems to be involved in a few other projects. Rashid Bakr is certainly one of downtown's best drummers, having played with Other Dimensions in Music and for Cecil Taylor. Recorded & mixed exactly 3 months ago today (January 4th of this year), with pieces by Ras, two by Dave and one by Shayna. The title piece opens this disc and has a fine jazz melody that is easy to remember, quite a bit straighter than most discs by Mr. Moshe. Dave Ross takes a most impressive, free guitar solo that is overflowing with ideas. Ras has matured through the years and has made a most impressive free/jazz quartet effort that sounds powerful and inspired throughout. "Sun Room" has a warm and sunny melody with Dave playing some strong, hypnotic chords that build as Ras takes a powerful tenor solo. "Flute Piece for Charles Lloyd" begins with everyone playing bells, cymbals and small percussion as Ras plays some somber flute. "All Flow" features a most haunting melody with a fine bass solo from Shayna, a superb tenor solo from Ras and superb swirling drums from Rashid. Considering that I hadn't heard of guitarist Dave Ross before this disc, I must admit that he is one the best avant/jazz guitarists I've heard in a while. Both he and Ras work so well together, swirling their lines of notes around one another in an amazing well-connected tapestry. Acoustic bassist, Shayna Dulberger, is another important new musician to watch, she takes a number of amazing solos on this disc that show her to be a new force to be reckoned with. What more can I say about the great Rashid Bakr, except that he is sadly under-recorded and plays wonderfully throughout this entire great disc. An excellent offering, from beginning to the righteous end. -Bruce Lee Gallanter https://www.paypal.com/cgi-bin/webscr?cmd=_xclick&business=charihosid%40hotmail%2ecom&item_name=Ras%20Moshe%20Quartet%20Transcendence%20US&item_number=KMB007%20US&amount=13%2e00&no_shipping=0&no_note=1&currency_code=USD&lc=US&bn=PP%2dBuyNowBF&charset=UTF%2d8https://www.paypal.com/cgi-bin/webscr?cmd=_xclick&business=charihosid%40hotmail%2ecom&item_name=Ras%20Moshe%20Quartet%20Transcendence%20World&item_number=KMB007%20World&amount=15%2e00&no_shipping=0&no_note=1&currency_code=USD&lc=US&bn=PP%2dBuyNowBF&charset=UTF%2d8KMB007 Ras Moshe - Transcendence _files/rasmoshepresssheet.dochttp://www.jazztimes.com/reviews/critics_picks/picks_data.cfm#292shapeimage_2_link_2shapeimage_2_link_3