Brian Krock is a composer, bandleader and reedman who is making big splashes in a very short period of time. Consider that two years ago, his discography was as deep as mine — zilch — and today he has four albums: two big bands (under Big Heart Machine) and two quartets (under Brian Krock’s liddle). His ‘big’ and ‘liddle’ output are all getting notice for his sophisticated blend of avant-garde jazz, rock, folk and classical elements.
Viscera came after the self-titled liddle debut only some 14 months later, with a second Big Heart Machine release wedged in-between. Probably a good part of the reason why Krock was able to put out Viscera so quickly is because it was all recorded live, at the tail end of a North American tour. By the time they wrapped things up in New Haven, CT, Krock and his guitarist Olli Hirvonen, bassist Marty Kenney and drummer Steven Crammer had become a well-oiled machine. However, the songs on this album were made for this album, too, adding to Krock’s fast-growing and critically praised oeuvre of well-thought-out original material.
Coming from a composer very comfortable creating and arranging music for large bands, it’s easy to think of Brian Krock’s liddle as a pocket version of his Big heart Machine, and in many ways, it is. Likewise, it a big part of what make liddle great.
“Instead, I’ll Try To Be…” is a chamber jazz windup to the rock of “I Am a Worm and No Man,” which means Hirvonen’s wailing guitar gets the primary focus. But step away from that one feature and you’ll find a composition full of the linearity rarely found in rock (as Crammer is kicking in muscular support that’s anything but plodding). After Hirvonen is done, the song even sounds orchestra-like in its maneuvering with Krock leading on clarinet, while Kenney saws away low-end moans.
Krock changes up tactics for each song to keep things interesting. “Eyes Beseeching, Hands Gagged” suggests a little of the free-funk of Ornette Coleman’s Prime Time band and the funky drum/sax interlude is just plain fun. “Nurturing A Vulture (In My Body)” is less about complex song structure and more about Krock stretching out on that alto.
“Viscera” (video above) commences with an arpeggiated intro from Hirvonen and when Krock’s clarinet makes its entry, so does Kenney in unison with him. But the roles subtly shift and before you know it, Hirvonen is harmonizing with the leader. Just in time for Anthony Braxton’s 75th birthday, the band pays homage to him with a lively depiction of his hopped-up bop number “Composition No. 23b.” In covering Braxton, it becomes clearer how much he informs Krock’s own approach to composition, though Krock has clearly developed his own style that pulls in many other influences as well. But also like Braxton, this composer can wield a mean alto sax.
Brian Krock lays out tall orders for his bands and they always produce. His liddle quartet is indeed little in size but the ambitions are ‘orchestra big.’ Viscera is now available from Bandcamp and other usual outlets.
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