Charles Gayle - Touchin' on Trane (FMP, 1991)

Charles Gayle, tenor sax

William Parker, bass

Rashied Ali, drums

Recorded October 31 & November 1, 1991

Haus der Jungen Talente, Berlin

Engineer: Holger Scheuermann

I had plenty of exposure to the so-called "free jazz" of the 1960s, initially through John Coltrane's late work, then on to Archie Shepp, Pharoah Sanders, Sam Rivers, and others. Most post-Coltrane tenor players still employ occasional overblowing, screeching, and multiphonics as a means of expressing intense emotions, sometimes of a spiritual nature. At its best, spiritual intensity can be transcendental, life-affirming, and cathartic. At its worst, it can be tedious and exhausting to hear. 

I acquired Charles Gayle's Touchin' on Trane after reading the rave review in the Penguin Guide to Jazz, which awarded it the highest possible accolades. Using phrases such as "raw urgency" and "superbly harsh lyricism," The Guide's editors judged it to be "a central document in the free music of the decade."* I hold editors Brian Morton and Richard Cook high regard, so I returned to the world of free jazz.

Touchin' on Trane is indirectly a Coltrane tribute album, but one that is freely improvised. Rather than covering Trane's compositions, the live performances are assigned five parts (A-E). Gayle's improvisations are intense, but also coherent and eloquent. There is a sense of purpose and direction in his playing that distinguishes it from random free blowing. 

Trio mates William Parker and Rashied Ali are icons of free music. It's not easy to describe their contributions to Touchin' on Trane. They surround, extend, augment, and prompt Gayle's searching voice. Any attempt to analyze exactly what is happening would be an injustice to the essence of free group improvisation. 

I suggest that anyone curious enough to hear why this album is special should listen twice before judging it. The first listen is to become sensitized to the syntax and intensity of sound. The second is to suspend critical analysis and allow deeper meanings to surface. Yes, the exercise requires time and attention, but anyone serious about free jazz should invest the effort.

The German FMP label (FMP stands for Free Musical Production) has been active since 1969 and is known for its commitment to European artists performing free music, often in live settings. FMP also records visiting American artists like Gayle, Noah Howard, William Parker and Cecil Taylor. FMP's production values assure good sonics and faithful rendering of even the farthest "out" music. 

*Brian Morton and Richard Cook, The Penguin Jazz Guide, Penguin Books, 2010, pp, 556-7.