Alex Cline is another drummer who I’ve admired for years that I got to know through interviewing him for both MODERN DRUMMER and AVANT magazines, as well as for my book, PERCUSSION PROFILES. Alex is not only an amazing drummer, but  a very deep and heartfelt human. His compositions are often cinematic in scope, sort of a sound track for a movie in your mind. I was honored to write the liner notes for his wonderful SPARKS FLY UPWARDS CD (Cryptogramophone). If you are at all interested in deeply spiritual music that will move you, then seek out this, or his other fine Alex Cline Ensemble releases: The Lamp and the Star (ECM), Montsalvat (9 Winds),  The Constant Flame and the just released Continuation (both Cryptogramophone)

A Matter of Perception

Irish wit and playwright Oscar Wilde wrote that "all art is at once surface and symbol." Indeed, art works on many different levels and means many different things to different people. On first glance of this recording, the prospective listener may recoil, seeing that this is by a drummer produced by another drummer! Thoughts of endless rhythmic rambling, seemingly leading nowhere, flash through one's mind. But that is merely a first impression. Upon closer inspection and listening, it is revealed that it is a recording by one musician produced by another musician. For in the case of both Alex Cline, the artist; and Peter Erskine, the producer, music comes first.

Born and raised in Los Angeles, Alex Cline has been at the cutting edge of the L.A. jazz scene for over twenty years. He has worked with a diverse range of artists, including John Carter, Bobby Bradford, Vinny Golia, Richard Grossman, Julius Hemphill, Tim Berne; and a core group of musicians including his twin brother, guitarist Nels, Jeff Gauthier, Eric von Essen, Wayne Peet, and G. E. Stinson, who collectively work in each others groups and recordings. It is out of this core that he formed the Alex Cline Ensemble.

Like many musicians, he felt a need to express his own music. Out of that need came 1989's The Lamp And The Star (ECM). "It was the easiest to record because I had the material for years. I never meant to form a band, it was a one shot deal. But [the music] created a life of its own that led to a band, more music, and playing live." The formation of the band was helped along by a series of synchronous events. While on tour in Europe, Alex was discussing his musical ideas for the project with guitarist Bill Frisell. "I love the purity of the female voice and mentioned that I'd love to work with Aina Kemanis, who had done some ECM recordings with bassist Barre Phillips. Bill pulled out his address book and gave me her phone number. I was surprised, because she lived in Berkeley, not too far from me." As events unfolded, Kemanis sent a tape of the session to ECM head Manfred Eicher in Munich. He called, saying how much he liked it and that he wanted to release it.

While The Lamp And The Star was recorded with the help of studio overdubbing, the next release, Montsalvat (9 Winds), found a full fledged band recording mostly live in the studio. "We had the opportunity to do some concerts around L.A. and Montsalvat came out of that. It's difficult to place [the band], it doesn't fit into any category. But I have a real commitment from the people in this band." Categories aside, Montsalvat showed more depth and growth. Being "live" music, it took on a sense of unity. With the interaction and communication between the musicians, this music can't be put together one track at a time without falling into sterility. There is an immediacy here that moves beyond the music itself. "It's live music really, and a successful working group."

Sparks Fly Upward

"I started out writing pieces dedicated to people [who meant something to me]," says Alex of Sparks Fly Upward. "These relationships and feelings generated themselves into different musical areas." Another factor was the addition of two new band members, guitarist G.E. Stinson and bassist Michael Elizondo. "I'm careful about the sounds I choose and use. Sound is real important to me. When I added G.E. and Mike, it took off to another level. It's a very orchestral approach and G.E. helped open things up." The combination of voice/strings/percussion lends itself to the orchestral landscapes Cline creates. Rather than playing cliched lead licks, the guitar is used more as a textural instrument integrated into the arrangement.

Rose Window features the ethereal voice of Aina Kemanis. Her wordless vocals are intertwined with Jeff Gauthier’s violin. The two compliment each other, trading musical phrases, at times sounding as one. Written for Cline's wife, Karen, "it’s not intended to be a musical portrait. It’s a beautiful gift."

Pieces Of A Mirror was written in memory of pianist Richard Grossman, who Cline had played and recorded with for many years. While the drums are prominent, it is not a solo feature. "My band is not a solo showcase," Cline told the Pasadena Weekly in 1997. "I often have difficulty finding a place for the drums in my own compositions." Rather, the drums are the impetus and emotion behind the piece. The playing is a reflection of his work with Grossman: pushing, punctuating, creating an edge for the other musicians to walk on (Check out Trio In Real Time on 9 Winds). The text was written by Grossman's wife, Dorthea.

Sparks Fly Upward is written for Russian film director Andrei Tarkovsky, who's work has had a great impact on Alex. At over 30 minutes in length it is cinematic in scope. Much like Tarkovsky's films, it is deliberately paced, unfolding and revealing its nuances, creating a tension that pulls you in. The title comes from the Biblical book of Job (5:7): "Man is born unto trouble as the sparks fly upward,"  which Tarkovsky had cited in talking about the role of suffering in the human experience. In his book, Sculpting In Time, Tarkovsky states that "the allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as example. The aim of art is to prepare a person for death, to plow and harrow his soul, rendering it capable of turning to good." The included text, taken from Tarkovsky's diaries, speaks of  walking "barefoot on the cold earth..." Thus by being grounded, our necessary suffering enables us to reach for, and to fly, upward.

Cline calls Audacity "an easily recognizable anomaly to this recording - it has the flavor of Tony Williams' audacity."  The audacity to play in Miles Davis' band at 17, the audacity to form the ground breaking Lifetime trio at 20 (and set the jazz world spinning), the audacity to keep breaking down barriers until his untimely death in 1997 at 51. Audacity captures that raw energy that was the hallmark of Williams' Lifetime (with Larry Young's pulsating organ and John McLaughlin's searing guitar). "It references Tony, yet still sounds like me. Lifetime was such a big impact on me." Wayne Peet’s growling B-3 organ gives Audacity an air of authenticity, recalling the time when the mighty Hammond was the mainstay of many jazz and rock groups. Cline notes with irony, "It seemed almost unfathomable that my group would ever play something with 4/4 swing!"

For years Cline had performed and recorded as a solo percussionist (releasing the 2-LP Not Alone on 9 Winds in 1981), but left it behind when he longed for the voices of other instruments. Dedicated to friend and producer Peter Erskine, Arroyo Taiko came out of a suggestion from Erskine to try a few short solos exploring different percussion areas. It is not so much a testament to Cline's technical capability, but to his creativity. Percussive sounds are used as texture and shade, much like a painter chooses their colors, to sketch out a varied rhythmic landscape.

Sonnet 9 is for longtime friend and bassist Eric von Essen who died in 1997. Alex, Eric, Nels, and Jeff Gauthier had played together for over 10 years in Quartet Music (check out Summer Night on Delios). "We evolved together, matured."  The gifted von Essen was equally at home on bass, piano, cello, harmonica and composition. "It was intimidating to write because he was so brilliant - how do I write this piece?" The choice of the text by Rilke, from The Sonnets To Orpheus, is fitting, as Cline had given it to von Essen some years before and read it at his memorial service. Like the mythical Orpheus, von Essen was a musician possessed of magic.

When von Essen moved to Sweden to teach, Cline drafted the talented youngster, Michael Elizondo to fill the bass chair. His resonant and full bass sound radiates throughout the track, with the spirit of Orpheus filling the air like a warm wind on a summer night.

First impressions can be misleading. After listening to Sparks Fly Upward, it is apparent that Alex Cline is a multifaceted musician. His music is both heartfelt and rewarding, with a depth that grows upon repeated listening. Put this music on and fly upward.

Michael Bettine, Milwaukee, October 1998