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Research On the Edge - Liner Notes

Liner notes by Robert D. Rusch – 2/2/99

Mark Whitecage (1937, Litchfield, CT) only half-jokingly refers to this as his Other-Other Quartet.

We first recorded Mark (CIMP 106) in a trio format (Dominic Duval, b; Jay Rosen, d), a memorable and almost tragic occasion (detailed in my notes on CIMP 106) which revealed Mark as an improviser with exceptional musical mind and chops. It was obvious to me even before that date that, after decades of inattention, there were more facets of this artist which deserved to be documented. Our association continued with his first quartet date (Tomas Ulrich, cello; Duval, bass; Rosen, d) (CIMP 119) and later the quartet with Joseph Scianni’s trio (CIMP 155), and then Mark’s “Other Quartet” (Sabir Mateen, s; Joe Fonda, b; Harvey Sorgen, d) (CIMP #157). In between, we recorded Mark with Dominic Duval’s String Ensemble (#141), Steve Swell’s quartet (#149), in duets with Joseph Scianni (#162), with Marshall Allen’s quartet (#171, #180) as well as part of the CIMPhonia 1998 gathering (#173, #178). And now we have Mark’s Other-Other Quartet.

Up to this point there has not been a redundancy in Mark’s work. And the fact that he has been a part of so many CIMP sessions is not an indication of any marketing strategy but a testament to the depth and breadth of his talent.

My interest in recording this particular group was motivated first because of my confidence in capturing an exceptional standard of artistry. Jay Rosen (1961, Philadelphia, PA) has more or less been Mark’s regular drummer since 1995 and he and Chris Dahlgren (1961, NYC, NY), who led his own wonderful trio session (with Briggan Krauss and Jay) on CIMP (#164), bring a different color and energy to Mark’s and Sabir’s frontline. The other reason I wanted to bring Mark and Sabir Mateen (1951, Philadelphia, PA) together again is because I think, as a pair, they complement each other quite unexpectedly. Together they suggest the Al & Zoot of post Bop music. Mark is a jammer and in Sabir he seems to have found both the complement and counterpoint to his playing.

Even though it took almost 2 hours of sound checks to get the group into audio balance, the return to The Spirit Room for all members of the quartet was more one of welcoming than adjustment and the checks were spirited and embracing. The energy and inspiration were quick to come. Unfortunately, the sound balance was elusive. The pleasures of the music and the relaxed ambiance allowed us to indulge too long in sound check mode and, by the time we had it all together technically, some of the energies and focus had been lost. The group spent the next hour musically treading water, trying to recapture a magic. That magic finally happened, after a relaxed break, when Jay simultaneously sat down behind the drums and said, “Ok, let’s get something happening.” Immediately he and Sabir launched into a declaration of energy which first purged a malaise and then, from its underpinning, Mark and Chris developed their own lines. Such occurrences for me reinforce that it is an art not a science and it is about the interaction of artists with each other and their art, not simply a co-mingling of technique, which brings this music to a higher level. Unfortunately, by the time the level was re-reached, it was short lived. The realities of time and energy closed in and shortly thereafter we retired for the night. At that time I assumed the one excellent take would be paired with material from the following day. I could not have anticipated the level of artistry that the next morning would produce.

Regrouping the next morning at breakfast, we discussed the previous night’s work and planned strategies for excellence. Mark’s aim was to approach it as they do in club dates and allow the music to extend over a series of sectional developments. The trick here is to be able to sustain interest while negotiating transitions, exits, entrances and the normal rigors of extemporizing.

An example of the types of exhilaration and tension of this strategy comes on “Lake Effect,” which visits various inspirations but comes anxiously close to faltering. However, the resilient and cooperative telepathy between the quartet members proves tense but perfect in its timing and redirectness. This is what keeps this creative improvised music alive and fresh.

Art has many different defining roles, some of them quite counter to each other. Sometimes that role is reflective, sometimes exploratory. The challenge of this strategy is the keystone to all the music here. As a group, this is a team. As individuals, each member has his own brilliant spotlights, rescues, and pivotal shifts which will eternally invigorate listeners.

The music here is research on the edge and it’s best traveled with open ears and closed eyes. This is an exceptional level of intellect and instinct. What more could I ask for?

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