Hot on the heels of American Roadwork comes another superb offering from Marco Eneidi, Lisle Ellis and Peter Valsamis, and a fine way it is too to inaugurate Bonnie Wright's new Henceforth label (offerings are forthcoming from Gunda Gottschalk, Ute Volker and Peter Jacquemyn). Whereas American Roadwork was a studio date recorded in CIMP's Spirit Room, Live is very much that, two sets recorded five days apart in May last year in Amherst and Philadelphia. Eneidi's awesome alto chops are once more very much in evidence - I like to think his former teacher Jimmy Lyons would be proud of his exuberant post-bop yelps: the lineage back to Bird via Lyons and Dolphy couldn't be clearer - and bassist Ellis and drummer Valsamis are just as impressive, and on this form would give Dominic Duval and Jay Rosen a run for their money as free jazz's most agile rhythm section. Both Eneidi and Ellis are prolix players, but even so one gets the impression that not one of their thousands, maybe millions, of notes is out of place. Less convincing is Ellis's use of electronics, not because it's incompetent or poorly executed (it isn't: Ellis has been making good use of his software in recent years), simply because it sounds rather out of place on what is essentially a bop rollercoaster.
Review of Sound on Survival: Paris Transatlantic Magazine
February 12, 2010 | Posted in Review | Tagged lisle ellis, marco eneidi, peter valsamis, sound on survival live