Portraits is a sprawling, ambitious work composed by bassist
Barry Guy that brings together musicians from across the
British jazz/improv spectrum, from free music luminaries
Evan Parker,
Paul Rutherford, and
Phil Wachsmann to somewhat more
jazz-based players such as
Paul Dunmall and
Trevor Watts. The album contains seven main "portraits," each distinct from the next, which are tailored to spotlight the various soloists as well as the different smaller working units contained within the larger 17-piece ensemble (for example, the
Evan Parker/
Barry Guy/
Paul Lytton trio in
"Part III" or
Iskra 1903, with
Rutherford,
Guy, and
Wachsmann, in
"Part I"). In between these main sections are shorter, freely improvised subsections that fit into a more sparse, non-idiomatic vein. As one might expect, there is some challenging music in this set.
"Part I" has sections of apocalyptic horn-section darkness that recall the
Jazz Composer's Orchestra of America's more foreboding moments, while
"Part III," the album's climax, has a frightening extended solo by
Parker (in circular breathing mode), backed by a rapidly shifting accompaniment, lending a sort of hall of mirrors effect. Surprisingly, though, there is also a good bit of material, specifically on the second disc, that is actually quite accessible.
"Part IV" has shades of
Gil Evans as well as a sunny, South African-tinged melody, while
"Part V" is a lush, tear-stained ballad that hits some of the same nerves as the more restrained parts of
Charles Mingus'
The Black Saint and the Sinner Lady. The set ends with a celebratory anthem of a piece that almost bursts open at the seams, with saxophonist
Dunmall's and cornetist
Marc Charig dueling atop a densely packed horn arrangement and a hard-swinging rhythm section. There is so much detail and variety within
Portraits' 114 minutes that it is nearly overwhelming to try to digest it all one sitting, but it is well worth delving into in it smaller doses as
avant-garde/
big-band marriages of this caliber are rare events. ~ William York
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