Mole RGB on 180g LP
Featuring Mark Aanderud, Stomu Takeishi & Hernan Hecht!
Freedom, experimentation and telepathy are the watch words for RGB, the latest transcendent collaboration of pianist-composer Mark Aanderud and drummer Hernan Hecht under their collective name of Molé. Joining the two longstanding partners on their second RareNoise outing is the inventive Japanese bassist and longtime New York resident Stomu Takeishi, whose highly expressive and adventurous low-end presence has graced albums by such forward-thinking, cutting-edge artists as saxophonist Henry Threadgill, cellist Erik Friedlander, trumpeter Cuong Vu, saxophonist Patrick Zimmerli, pianists Myra Melford and Satoko Fuji.
Together these three refined, deep-listening musicians strike a rare accord on pieces that range from meditative motifs to rhapsodic crescendos, from spacious, ECM-ish soundscapes to turbulent, collective jams. From the meditative soundscape of "Sub-All" to the frantic funk of "Reasons" fueled by Hecht's slamming backbeats and Aanderud's hyper piano solo, to the suite-like "Trichromatic" which travels from an evocative rubato into to a free section in the middle which resolves to a lyrical theme, this edition of Molé is perhaps the most flexible and experimental of all. "Winip" opens with a hymn-like refrain before heading into a heavy-duty Bad Plus-like theme underscored by Hecht's big-as-a-house backbeats.
"Freelance" has Takeishi pushing the envelope with effects before soloing over a drum 'n' bass groove by Hecht while "Rodriguez" is Molé's unique take on the classic Clyde Stubblefield-Jabo Starks funky drummer groove from classic James Brown bands of the ‘60s. The extremely spacious T-Overlap leads into some provocative collective improv while "Ine Sest" opens on a classical not with a piano etude by Aanderud before evolving into a whimsically tuneful number underscored by Hecht's supple brushwork. And the closing three-way conversation on "Wix" paced by an exacting and infectious 6/8 over 5/8 groove, is perhaps the best example of collective improvisation on the record.