Recorded live in 1993, Gerry Hemingway’s Demon Chaser offers a magnificent vision of straight bebop jazz viewed through contemporary deconstructivist goggles. Hemingway was a percussionist for Anthony Braxton for 11 years and this recording comes from the tail-end of that tenure, taking a more traditional approach than that of Braxton. Here he leads a quintet on drums and steel drums, with Michael Moore on reeds, Wolter Wierbos on trombone, Mark Dresser on double bass and Ernst Reijseger on cello – an unusual ensemble, but one that yields unfailingly inspired results.
Those who love that sixties period of jazz where the rhythmic and harmonic structures of bebop began to unravel in perceptibly unified ways will find much to enjoy here. Aptly titled opener ‘Slamadam’ offers a fiery introduction with horns weaving like feisty featherweights, pushed callously aside by Hemingway’s scattershot rhythms. ‘Buoys’ and ‘A Night in Tunisia’ (the only non-Hemingway tune here) cut closest to the reductionist improv of today, slow-moving bows from Dresser and Reijseger sit against sparingly deployed horn bleets. Wierbos in particular is stunning on the latter – his mute crafting duck calls are fitting but almost comedic; as far-out as they are evocative of the pioneering sound of Kid Ory.
‘Holler Up’ offers a jazzy take on compositional minimalism, repeating basic melodic cells recalling John Adams, before splintering into shards. The title track starts similarly, with Moore leading with eastern-tinged runs reminiscent of Eric Dolphy and spurred on by Hemingway’s steady, ruthless pulse. It too, collapses in spits and rattles. With a title straight from prime bebop, ‘More Struttin’ with Mutton’ is the straightest thing here, and best: Hemingway swings the whole way through, down the line like Blakey but never pausing for breath.
The rest of the ensemble all put in crazed, inspired solos, particularly Dresser and Reijsegers’ slippery dialogues, rambunctious jazz of the finest, Mingus-inspired sort. As always with Hatology the liner notes are excellent, with The Wire‘s Brian Morton discussing the vital role of the rhythm section in jazz. This recording puts Hemingway in ‘the Big Book’.
Joshua Meggitt
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