This recording is a particularly welcome addition to the creative, improvised music catalog for several reasons. First of all, it’s been several years since the release of the last recording by this exceptional musician. His last record, “Shapes, Sounds, Theories” was released in 1984 and was, like the current record, a trio effort. On that earlier record, Cohn was accompanied by the fine rhythm section of Reggie Workman on bass and Chuck Fertal on drums. The bassist and drummer this time out are equally exceptional and are rightly considered among the finest musicians in the business.

One would be hard pressed indeed to find a more musical bassist than Fred Hopkins. Not only is he one of the most in-demand players on the New York scene but his unique, personal sound on his instrument places him in the upper echelon of bassists in the past few decades. His work with Henry Threadgill, for instance, has resulted in many important records and he is instantly recognizable in whatever context he’s heard.

Thurman Barker is simply the best drummer around and, I might add. one of the finest percussionists to boot. His sensitive support and propulsive style has been enhancing many fine records since the early days of the AACM in Chicago and continues to drive many of the more creative ensembles around. In addition to his excellence on the standard trap drum set, his marimba work is very creative and melodic. His recent performances and recordings with Leroy Jenkins and Billy Bang attest to his continuing value as a percussionist.

The title of this record, “ITTEKIMASU” is an expression that is used by the Japanese when a member of the family leaves the home and its meaning, roughly translated is, ‘‘l’m going out for a while and I'll be back later.” Its application as a title to this music is particularly apt and also serves as a descriptive indication of the musical mission of Steve Cohn. Cohn thinks of his music as an audio journey of sorts and this record is an excellent example of that concept.

“ITTEKIMASU” was recorded during the trio’s concert at the 1987 Greenwich Village Jazz Festival in New York City. The musical journey starts as a conversation might begin, in an unhurried and relaxed manner. The three voices of piano, bass and drums begin a dialogue which becomes more animated as it develops. Cohn’s unique style immediately comes into play as the music progresses. The idea of completely improvised music is not new, of course, but Cohn’s approach utilizing this method represents something uniquely individual and personal, largely due to the strength of his musical personality and the brilliance of his fellow musicians.

Listen to the way the music builds in intensity only to be followed by sections of reflective and almost introspective calm. It should be noted that Cohn conceives his music in very definite movements and although the improvisation is total, the direction of the music is dictated by these movements.

The first movement ends with percussion and hichiriki (a Japanese, double reed instrument traditionally used in court music and ceremonies) following the intense trio section. The second movement begins quietly with Barker’s marimba and Hopkins’ bass in conversation augmented by Cohn’s interjections on shofar and khaen. The textures of the second movement are very ‘‘woody”’ largely due to the arco bass and marimba timbres. Barker then moves to drums following a brief solo bass interlude only to return to marimba behind Cohn’s entry on piano. Mention should be made at this point regarding the sound quality of this recording. The recording is digital and the engineer deserves special credit for the excellent sound that he captured. Listeners familiar with creative, improvised music in New York will not be surprised to learn that this recording was the work of the very fine Kazunori Sugiyama.

The musical conversation continues with Barker moving to various percussion instruments and Cohn switches to shakuhachi, an instrument on which he is one of the few western masters. The shakuhachi is an end-blown, bamboo flute and while Cohn has studied the traditional approach to the instrument, his playing here is anything but traditional, by any definition of the word. He manages to achieve simultaneous notes and harmonies while displaying a very connected and legato technique as he moves up or down in pitch. A section with shakuhachi and ominous bass and drums follows. The effect is one of timelessness and perhaps foreboding. Overall, a very powerful section, rich with expressiveness and communicative powers. When Cohn’s piano returns, Barker has shifted away from the drums and is investigating tuned percussion while Hopkins continues to develop his ideas in a very coherent and responsive manner. Shortly, Hopkins sets up a walking line that propels the piano and marimba into some of the most active playing on the record. When the bass drops into half-time, Barker returns to the drums and the group investigates a more recognizable style of trio playing, while still maintaining continuity with the central conception of the piece.

A backbeat oriented section (one is tempted to term it a funk section) from Barker and Hopkins finds Cohn back on the hichiriki for a decidedly non-funky solo. The effect is anachronistic and the piece comes to an end. The musicians have ‘‘come home after going out for awhile,’’ bringing the listeners with them and while the journey is complete, the travelers are changed subtly by the process; perhaps wiser and certainly more experienced.

The fifth and final movement of “ITTEKIMASU” was performed as an encore at the concert. It starts with quiet, percussive sounds and a feeling of reflection is apparent. Much as one reflects on a journey after returning home, the trio reflects on their musical journey during the peaceful opening moments of this section. Arco bass harmonics, marimba and gong are blended in an almost pastoral manner until the marimba and bass set up a rhythmic pulse, soon to be joined by piano. With Hopkins driving the music, Cohn and Barker mesh until Hopkins is left alone for a brief interlude while Barker switches to drums. The finale is bass, drums and piano with varying dynamics until the end. The final phrase is suspended and unresolved, as if we are being left with a musical question.

Innovation in music is no easy task and innovation in Jazz, in particular, is especially difficult given the music’s nature and history in the past 60 years or so. While the so-called ‘‘Free Jazz’’ movement of the late 1950’s and early 1960’s represented a radical movement away from traditional approaches, it also presented an unusual challenge for artists choosing to work in the improvised arena who wished to say something new and fresh. History will, no doubt, be the final authority regarding who was ‘‘sayin’ something”’ and who was mimicking the innovators. Steve Cohn is one of the few who is ‘‘sayin’ something.’’ His approach is his own and he stubbornly refuses to sound like anyone but himself. While comparisons are inevitable, even a cursory listen to this record reveals an artist who is bent on breaking his own new ground. That, in itself, is about as good a definition of innovation as you'll find.

Carl Baugher July 1989