Andrea Centazzo names this album after the last track, "Rebels, Travelers and Improvisers," a title he could have ascribed to the entire 12-CD box set of which this recording is a part. In some ways, the instant recording is a good finale, bringing together a diverse collection of takes selected... [+] Expand

Andrea Centazzo names this album after the last track, "Rebels, Travelers and Improvisers," a title he could have ascribed to the entire 12-CD box set of which this recording is a part. In some ways, the instant recording is a good finale, bringing together a diverse collection of takes selected by Centazzo, and offering a glimpse at the dazzling, sometimes dizzying array of talent that the Italian percussionist attracted throughout the collection. The opening "Breghenz Session" brings together the talented, though rarely heard, American pianist, John Fisher, joined by Centazzo, of course, on percussion, and an odd but potent combination of clarinet and tuba on the front line. Tuba player Melvyn Poore impresses with multi-phonics and advanced technique, while Theo Jörgensmann affirms his skill as a fluid and jazz-oriented clarinetist. The piece explores a variety of moods, with the musicians changing pace on the spot and Centazzo offering a deliciously extended solo on percussion. Despite the reference to church music, the following three tracks have nothing to do with the Holy Spirit, instead offering a hodgepodge of concentrated improvisations by Evan Parker and Eugenio Colombo, two European saxophone heavyweights. They reach a zenith on "Church Music #2" with intense and mesmerizing interlocking horns. Martin Joseph's electric piano may be dated and the sound a little distorted, but his skills were up to the task, and he mastered the difficult effort of knowing when to lay low. Besides offering some exciting results, these three tracks capture a rare collaboration between the two reed players in an intimate setting. Centazzo is particularly inspired by the collaboration, which brings out his confident, more aggressive side, though occasionally his solos run a tad too long. Nonetheless, his contributions in support and as an improviser on both "Church Music #1" and "Church Music #2" are among his best on disc. The trio of Centazzo, Lol Coxhill, and Franz Koglmann improvises extensively on "The Innsbruck Session #1" and "The Innsbruck Session #2," but considering the expectations, and despite the special moments such as the trumpeter's appealingly untrammeled, uncharacteristic emotional outbursts on the latter, neither track really takes off, and the main appeal is the chance to hear the two musical giants in a small group setting performing together fairly conventionally with sympathetic backing. The personnel on the eponymous last cut would curl the hair of almost anyone who enjoys free jazz: an extremely rare and talented three-horn line of saxophonist Evan Parker, trumpeter Lester Bowie, and trombonist Giancarlo Schiaffini, with Alvin Curran on piano and synthesizer, and Centazzo and Tony Oxley on percussion. Alas, while Centazzo does a miraculous job in digitally remastering the cassette tape used to record this performance, there are clearly missed opportunities, and, in fact, the trombonist is barely heard from, while Parker dominates the horns, and Bowie is not quite up to par. One important highlight is a long and fascinating joint improvisation by the two percussionists, and Curran juices it up just enough on synth to give it an extra lift. The players never fully tale advantage, though, of the format of the sextet as they frequently break into smaller configurations. ~ Steven Loewy, All Music Guide [-] Collapse

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