mopdtkFree Jazz? Maybe it isn’t that dangerous, complacent and closed around itself? The screaming saxophone on “Fagundus” and other tracks can obviously not be avoided. And the approach of a non-linearity, stratification and fragmentation of musical ideas is quite challenging for the listener (me). However the concept is an opportunity for each part in the ensemble to explore the expected as well as the unexpected. In the inner sleve Mostly other people do the killing (MOPDTK) – or actually Moppa Elliot – states the influence of Ornette Coleman. This regards both terms on how we look at “correct/ incorrect” as well as the notion on “freedom in improvisation”.

In many ways this underlines the impression I have of “This is our Moosic”. Although the music is tight and outstanding, the notation and structure are more guidelines than routines. This gives a playful and completely overwhelming bunch of superiority.
“Two boot jacks” (and other tracks, but this most outspoken) is some kind of gimmicky, when borrowing from the New Orleans Jazz. MOPDTK jump in and out of the music history and context and play with the conventions, rules and expectations. None the less is the cannibalisation of jazz history what I really like. They play with both conscious and surprise to undermine their seriousness – only to create a new perspective and musical experience.

And gosh they play fast. Sit tight. Jazz heroes are here to stay.

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