Fragmentation by Daren Burns

"Fragmentation is one of the most intriguing jazz albums of the year, a set of music that will certainly keep listeners guessing." - Scott Yanow, jazz journalist/historian

" Fragmentation is the type of adventurous jazz set that rewards repeated listenings because there is a lot to discover. It is easily recommended to anyone with open ears." - Scott Yanow, jazz journalist/historian

WHOLE REVIEW:
Fragmentation is one of the most intriguing jazz albums of the year, a set of music that will certainly keep listeners guessing. Bassist Daren Burns contributed all of the compositions and it reflects his wide interest in adventurous music. During the past 30 years Burns, who is originally from Southern California (although he has spent time performing and teaching in Beijing, China), has worked in a wide assortment of groups and genres. Fragmentation is his eighth album as a leader.

For this project, Burns (who is heard on fretless bass) utilizes a double quartet comprised of Vinny Golia on woodwinds, bass clarinetist Brian Walsh, keyboardist Motoko Honda, guitarist Woody Aplanalp, Steuart Liebig on six-string bass, both Trevor Anderies and Craig Bunch on drums, and percussionist Randy Gloss who also plays tabla and kanjira. The very colorful set, which travels in many unexpected directions, is not without humor as one can tell from the song titles.

It all begins with “Tips For Musicians When Performing In Bars,” a performance that sets up a spooky atmosphere with prominent roles for Honda’s electric keyboards and Walsh’s bass clarinet. “Bald With A Beard” can be considered avant-funk. Golia on tenor gets in the groove, flying over a funky background that is filled with eccentric electronic effects, building up to a pretty wild conclusion. “Phone Zombies” starts off like the soundtrack of a horror movie, calms down, and then picks up again. “Quiet Chaos” has Honda on piano playing pretty free and then engaging in a duet with Walsh before the drums and everyone else joins in.

“Sacred Dilettante” is a showcase for Brian Walsh’s wailing bass clarinet, at first in a conversation with Hondo’s piano and then with the ensemble. “Neither Orangutan nor Robot” is science fiction music with eerie and often humorous sounds driven by Burns’ bass.

The style of the program changes a bit with “Slipshod Demigod” which has a strong theme backed by dancing bass lines. Aplanalp contributes some passionate guitar, there is a brief flute-tabla duet, and the ensembles have a great deal going on simultaneously. “Fragmentation” can be considered a suite with several mood changes, a somber theme in its middle, and colorful interplay by the musicians that gradually build up to a rousing conclusion. “Sheep Miscellaneous Soup” has strong forward momentum and crowded ensembles that make one think of a cheerful expedition through the jungle; it also includes an explosive drum solo. “Thoughts And Prayers” is a bit introspective despite the explorative nature of the music with Golia as a lead voice before the set closes with the relatively melodic and hypnotic “Hurt.”

Fragmentation is the type of adventurous jazz set that rewards repeated listenings because there is a lot to discover. It is easily recommended to anyone with open ears.

Scott Yanow, jazz journalist/historian (http://www.scottyanow.com/)

Daren Burns is a bass player, composer, improviser, & educator living in Los Angeles California. Burns has studied, Western European music, North and South Indian, African, Japanese, Eastern European/Arabic music, as well as American Blues, Rock, and Jazz. He is working on notation systems and open structures that give the musician freedom while also giving the composer his realized ideas.

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