John Lindberg Quintet:
  Dimension 5(Black Saint)
John Lindberg: Trilogy of Works for   Eleven Instrumentalists (Black Saint)

On bassist John Lindberg, the editors of the Penguin Guide to Jazz on CD lament, "it's disappointing that [his] recording career should have straddled the vinyl/CD divide so squarely." Someone was listening - the Italian Black Saint label has been steadfastly reissuing Lindberg's impressive back catalogue, including these two from the early and mid-eighties.

Even with the presence of violinist Billy Bang and reedman Marty Ehrlich on DIMENSION 5, this early record (1981) in the Lindberg discography virtually belongs to little-known trumpeter Hugh Ragin. If there's an obvious precursor to freebopper du jour Dave Douglas, Ragin is it - a fluent, fluid, sputtering, warbling virtuoso equally at home in the ordered chaos of "Dimension 5" and the furiously swinging "T'wixt C and D."

Lindberg was just 22 when this record - made live at Cami Hall in New York - was laid down and his instrumental voice was still a little unclear. It was his talent for composing smart, difficult pieces that was making his name. That side of John Lindberg couldn't be more apparent here - from the protean "Eleven Thrice," which he revisited with marvelous results this past year with a new ensemble on BOUNCE, to the propulsive two-part "T'wixt C and D," this is a revelatory listening experience. And while Lindberg's bass playing lacks zing, as it were, he's a steadying influence on those firebrand veterans, especially Bang, who one senses would just as soon free himself totally from the shackles of melody and harmony. . .

DIMENSION 5 is an assertive, at times startling disc, but the bassist's best work of the period was with Bang and guitarist James Emery in the String Trio of New York. His greatest achievements as leader were yet to come.
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TRILOGY OF WORKS FOR ELEVEN INSTRUMENTALISTS was recorded just three years later and must be considered Lindberg's most ambitious statement before or since. Under the direction of influential reedman/composer Anthony Braxton, the movements are intense, cinematic, constantly changing. One can't help but be reminded of Prokofiev's Peter and the Wolf, where characters are represented by certain themes and instruments - hear the opening "Holler" with its clipped exchanges between piccolo, low-register piano, clarinet and the rest and then try to forget the comparison.

Ragin makes a return, but this time the likes of pianist Eric Watson, trombonist Ray Anderson and - the real dark horse of the date - baritone saxophonist Pablo Calogero (whose towering presence holds "Holler" together) dominate. TRILOGY relies heavily on contrast - ensemble passages punctuated by brief duo and trio sections. These provide the work's most breathtaking moments - Anderson and tenor saxophonist J.D. Parran setting a surprising groove on "m to M" or the spontaneously rampaging trio passage in "Dresden Moods" between the bassist, Alan Jaffe's guitar and Thurman Barker on xylophone are but two examples.

Lindberg's generous liner notes go a long way to guiding the listener through his sprawling musical maze. It's a satisfying, somewhat exhausting but altogether worthwhile trek.
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JM