ramboy 05
I am an Indian
Trio Clusone
€19.50 (incl. shipping + tax)

1. Wigwam (Moore) 5:16
2. Angelica [Purple Gazelle] (Duke Ellington) 5:31
3. Tlinglit (Moore/Bennink/Reijseger) 3:22
4. I'm An Indian, Too (Irving Berlin) 3:29
5. The Gig (Herbie Nichols) 6:40
6. I'm An Indian, Too (Irving Berlin) 2:56
7. Qow (Dewey Redman) 7:53
8. Bella Coola (Moore/Bennink/Reijseger) 4:27
9. Celia (Bud Powell) 6:47
10. Tsimshian (Moore/Bennink/Reijseger) 3:30
11. Sonoroso (Sebastião de Barros) 3:53
12. Mijn Geheugen Is Een Zeef (Misha Mengelberg) 4:12
13. The Song Is Ended (Irving Berlin) 6:55
14. Salish (Moore/Bennink/Reijseger) 2:35

Recorded live June through September, 1993, Calgary, Vancouver, Willisau, Ulrichsberg, Bremen

"Some modernists avoid the past in quest of the unheard; some 

postmodernists scrabble at historical references for want of anything

original to say. Clusone Trio neither aver the well-worn pleasures of 

yesteryear nor do they use pastiche as an easy out. Aggressive, 

playful, clamorous, baffling, romantic, cutting, diffident, fun--they’re a 

perfect incarnation of the ambidextrous form of jazz that has been 

evolving in Holland over the last three decades. 

Thoroughly drenched in swing, the threesome is powered by one of

the most dynamic engines in today’s jazz: drummer/percussionist Han

Bennink. As buoyant and full of joy as Papa Jo Jones, Bennink can break

from a full-tilt groove to release what sounds like a closet full of junk, 

then dive right back in again where he left off. He’s also prone to play

off or against his partners, and particularly in this trio he’ll sometimes 

wander away from a group activity or plr world. For listeners schooled

in action/reaction improvising, such aloofness may be frustrating. But 

Bennink likes to disrupt those closely held values, challenging his 

audience to hear seemingly unconnected simultaneity as a valid approach

to improvising. 



Reed player Moore is an absolute marvel. His soft tone and rhythmic 

panache give him a somewhat West coast hue (betraying his California 

origins?) while an abiding love of Johnny Hodges is evident in his seemingly

boundless melodicism. When Clusone turns to tunes like Berlin’s “The Song

is Ended”, Bud Powell’s “Celia” or Sebastiao de Barros’ “Sonoroso”, Moore’s

radiant tone sings out, though he’s no stranger to sharper and more 

fragmented sound images, either. And now and then he’ll whip out his 

melodica and blow plastic little chords for surreal effect. Surely the most 

versatile cellist around, Ernst Reijseger is perpetual thought-motion. He can 

lock in with Bennink, becoming Jimmy Blanton (if he’s walkin’) or Freddis

capable of being as gonzo and nutty as Bennink, as gentle and sweet as 

Moore, and adding sudden classical gasses (hear “Tsimshian”). On Dewey

Redman’s “Qow”, he lays down a hard blues, hits slick licks and lithely 

doubles Moore’s lines. And when Reijseger cuts loose, the sky’s no limit. 



These very live-sounding recordings capture the thrilling trio mixing styles,

eras, energies--reveling in the exuberance of jazz. Don’t miss out." 



John Corbett, Downbeat, January 1996