Here’s Dewey’s 1975 (recorded in 74) follow up LP to 73’s “The Ear Of The Behearer”, still fuliginous from the scorch radius. On Coincide the same line-up is conscripted (minus the extra Cello player & Percussionist from the previous outing) & also with the adjunct of Leroy Jenkins on violin. It ignites with Seeds And Deeds, an expeditious explosion of exhilaration & elation. As with before, this chaotic outbreak of erratic & acutely accelerated Off-Road euphoria is expelled with immense effusion from all accomplices. Lavish octopus-limbed percussion from Eddie Moore rains a “deconstructive” downpour of ceaseless precarious tumbling & invigoration as the base foundation for all manner of group/duo & solo summary exasperation from this fantastic gathering of sonic extremists. As usual with Dewey, it’s crammed to the rafters, rathe, delirious n’ deliciously cavalier & debauched with it’s excess of energy, flammability & flamboyance. The playing from all members is exquisite & the roof is thoroughly incinerated.
Somnifacient & the following Meditation Submission Purification is another of Redman’s intensely Avant odd-balls. Solemn & occasionally quite threatening/minatory with strong supernatural sub -currents, this intensely experimental wondering conjures tremendous atmosphere with it’s exotic & peculiar voyaging & unclear/unorthodox communications. Plenty of bowed-bass groaning from Sirone along with strange instrumentation (a zither & idiophone) & improvisational methods yield elusive & unsettling apparitions & irregular contours. Very interesting stuff with a lot of ambience & considerable menace/sombreness.
The first up on the flip side is Joie De Vivre, a short three minute + number of slow conventional Bluesy Jazz. It’s brevity in the surrounding wilderness is not such an issue as the massively misplaced “Boody” from The Ear Of The Behearer.
Next is “FUNCITYDUES”, a short & fast smouldering urchin of irradiance & ferocious improvised exclamation, with major sax hysteria from Redman including his hugely endearing quirk of talking mid sax-blast to produce a kind of muffled man-in-a-meat-grinder effect!
Phadan-sers follows with more bizarre atonal zither streaking by Dewey (according to the liner-notes he has personalized the zithers tuning)
& finally comes Qow, that starts with a genial composition before busting out with hard mid-tempo swing that becomes increasingly raucous & rowdy as the track trans-folds. Dope shit from both Sirone & Moore & some excellent soloing from Redman.
This is a knock-out album with some very special material to contribute to the New Music/Free Jazz historical archives. Dewey is a remarkable player that belongs right up in the top echelons with the best & his immensely original leadership & acute adventurism are most precious. As far as my subsequent exploration of his work after this recording has confirmed, this really heralded his most unfortunate decline in recording/leading this kind of majorly Avant-Garde, fast & feral Free Jazz (he really cooled down & started doing much more traditional stuff afterwards) though In Willisau, a live collaboration with Ed Blackwell from 1980 is a stormer. I still have to check out tracts of his much later back-catalogue but am pretty certain that the crazy shit was pretty much fazed-out of his repertoire as so tragically happened to Marion Brown & many others during the bane of the 70’s & 80’s.
This album, although fascinorously never reissued on CD, is abundant & reasonably priced on the rekad’ circuits & should not be too hard at all to find for wax hunters.
Rekd: 1974 (released in 1975)