David Ware Quartet - Freedom Suite
(Aum Fidelity)
When considering an album like Freedom Suite, there always arises the question of the "worth," so to say, of what the artists involved are partaking. And though it's not worthwhile to try to fit an artists' output into some value system that will define its merit, there's a definite sense of purpose that needs to accompany any sort of cover/tribute to separate it from simple, pointless atavism.
The David S. Ware Quartet have a storied history, at least within the realm of the "New York as free jazz Valhalla" train of thought. Ware and his compatriots, even on their weaker efforts, have proven themselves to be versatile and talented, and their latest release, a reworking of Sonny Rollins' classic "Freedom Suite" signals at least a partial return to form after Corridors and Parallels somewhat ill-advised jaunts into a more electronic sound. Stretching Rollins' nineteen-minute tune into almost forty, the quartet weaves their own web of introspective improvisation into Rollins' original composition. The major themes and progressions of the 1958 original are very much intact, and though there's something in Ware's arrangement that lacks the coolness that defines Rollins' version, the feeling and tone of the original shine through. Ware, of course, lends his signature style to Rollins' tune, and, as might be expected, he's quite ample, though never jaw-dropping. Utilizing a much wider improvisatory palette, and with more tonal variety than Rollins, Ware leads the quartet throughout the piece, finding a fairly nice space between his sound and that of his predecessor. William Parker, like Ware, fluctuates from following Oscar Pettiford's original bass lines to exploring his own, offering solid support for Ware and pianist Matthew Shipp's more frequent soloing. Drummer Guillermo E. Brown is no Max Roach, but his percussive work is adequate, though unspectacular. He lacks Roach's more pronounced voice and tightness, but his interplay with the other members of the quartet makes up for any shortcomings. Matthew Shipp's contribution to the work is perhaps the most interesting, as Rollins' original was written for a trio, sans piano. Shipp divides his time between following Ware's saxophone through Rollins' prevalent melodic lines and lending atmosphere to create a fuller, more expansive sound than that made by the original trio. He sometimes gives the piece an inappropriately lounge-y sound, but, for the most part, plays his part well.
From its beginning to its sudden end, the Ware Quartet's Freedom Suite manages to easily avoid any accusations of dreamy-eyed nostalgia, and though a more unique and arresting take on Rollins' classic could definitely be made, this reworking, more than thirty years later, is a well-executed effort that, within the realm of the quartet's usual sound, gives reason to be considered as more than a simple tribute.
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