Transit - Transit (2005, clean feed CF0555CD)

×

Transit - Transit (2005, clean feed CF0555CD)

Close

The New York-based quartet Transit is comprised of four fire-breathers, each of whom by the time of this release had developed reputations for creative, original performances, often as sidemen, and mostly in the realm of free jazz. Considering the high quality of many of these tracks, it is difficult to understand how this can only be the first release from this wonderful group, particularly as the quartet had been performing together off and on for several years before this recording was made. Based on the ten tracks offered here, there are two sides to Transit, one revealing the free and essentially anarchic displays that are featured more on the second half of this recording, and the other exposing a somewhat more restrained approach that relies on loose though highly disciplined arrangements, particularly of the horns, clearly influenced by Ornette Coleman's early quartets. Seth Misterka is heard exclusively on alto sax (though it often sounds suspiciously like a tenor sax), and he brings an array of unusual effects and advanced technical skills that inform his solos. His playing dominates, but the trumpet of Nate Wooley is a fine foil with its elastic tones and intense flurries of notes. Reuben Radding is a powerhouse on bass and Jeff Arnal impresses with a consistently powerful percussion that pushes him to the forefront. Highlights abound from the energizing, invigorating set of tunes, which are immersed in improvisatory fire and brimstone. The opening "Cortelyou" layers elements of smashing hard bop intensely improvised wondrously from the starting gate, as the two horns, acoustic bass, and drums seem precariously balanced on a precipice of insanity. Misterka rocks on alto, while Wooley crushes notes with seemingly unmitigated abandon. Next comes the slow but no less focused "Van Brunt," again heavy on collective improvisation. The trumpeter changes timbre on the flip of a coin, muting his horn on the deliciously entertaining "Ditmas Park" and driving hard on open brass on "DerBlatt," a piece that blows away any pretense of insouciance. The two "Brick City" tracks are particularly cogent, Part One with tricky, biting non-swinging staccato thrusts by the horns, and Part Two reveling in the sort of avant-free form for which these players are known. (Steven Loewy on allmusic.com)