One of the interesting unknowns of recorded music is just how much is sitting in the can. Of course, most is likely dreck (as seen by more than several unmentionable “super duper box set” releases that scrape the wells dry), but what about the nuggets? One very active label these days is CIMP, with each release covering the “best” from two-day sessions, leaving the rest for another time. Although there are probably some interesting moments sitting in the Cadence Building archives, CIMP has more recently begun releasing companion records to newer releases, such as those from folks like Steve Lehman, Ernie Krivda, or the record considered here, bassist Adam Lane’s Music Degree Zero, the follow-up to Zero Degree Music. With this outing, Lane and his cohorts, drummer Vijay Anderson and reed legend Vinny Golia, dig into seven tracks, with three making return appearances.
As with Zero Degree Music, Lane is up front and center, an assertive player that can be heard over any ruckus despite his low-toned instrument, though his sensitivity is also an ace. While Golia is consistently intriguing and often playing more “inside” than his usual gigs, Anderson is a most welcome newcomer. Whether adding vibrant shadings or coaxing the groove, Anderson demonstrates his natural abilities with consummate taste and skill. Regarding the musical program, the compositions foster the group’s collective consciousness and frequently find the players navigating spiritual realms, with plenty of biting improv and, yes, even some thematic material.
The group remains consistently exciting, as a second version of “Spin With the EARth” provides a glimpse into the group’s restless spirit, yet concludes with a meditative mindset. Perhaps the record’s most potent moment is “Without Being”, a surefire showcase for Lane’s considerable arco skills, though he locks in mightily on the steady midtempo groove. But don’t worry about Golia—his soprano turns inward during the opening portion of the piece, though as the temperature rises during its concluding moments, his tenor soars over the Lane-Anderson undercurrent. Like its predecessor, this record highlights the group’s vamp-based forays, such as “Dance”, a blues-tinged piece that spotlights Golia’s soprano fluidity, as well as “Birthday Song”, another exhibit of the group’s collective consciousness. Speaking of this group’s emotional content, the collective passion rolls easily on the wide-open, rollicking terrains of “Free”, with Lane priming the pump and Golia’s tenor lacerating forth.
It’s not all muscle and bare-bones maneuvering, as these guys demonstrate they can (post-)bop with the best of ‘em. Take the jagged “Running Upsidedown”, an uptempo groove with Lane and Anderson setting a rapid tempo for Golia’s tenor before its muted closing thoughts. In this vein, the record concludes with the group’s most memorable thematic material, “To Avenue X”, a straight uptempo swing that proves rather catchy.
With all of the music as wallpaper out there in our modern era, it is always refreshing to have no-nonsense music come across the windshield. Lane’s output has demonstrated his ability to create music that cannot be faked, emerging straight from the soul of the artist. Music Degree Zero, then, is yet another well-placed chapter in Lane’s still blossoming career.
http://www.onefinalnote.com/reviews/l/lane-adam/music-degree-zero.asp
