Rova Albums (23)
What The Critics Say
Although Totally Spinning came out in 2006, it was recorded back in 1996. Rova, famous as being an avant-garde saxophone quartet, performs eight originals (all but Fred Frith's "Kick It" came from the band) and plays with surprising lyricism, often emphasizing strong melodies and catchy ensemble work. The improvising is advanced, emotional, and sophisticated with baritonist Jon Raskin generally taking honors. This is one of Rova's more accessible projects, although the music certainly has its adventurous and passionate moments. Recommended. ~ Scott Yanow, All Music Guide
What The Critics Say
In 2003, the Rova Saxophone Quartet celebrated its 25th anniversary with a long tour that led the group, among other places, to Victoriaville for the FIMAV festival. For the occasion, the Victo label released a new studio album of the group, Resistance (its third for this label). Consisting of two new pieces and an older improvisation, it adds to the group's constantly interesting discography without redefining any parameters -- which is just fine, because Rova's music is rarely predictable anyway. The title track was produced in 1997 for the ORF Kunstradio. While they play, all four saxophonists trigger prerecorded tapes of their own playing, virtually multiplying the ranks of improvisers. The piece is full of surprises. "The Drift" and "The M'ad-Din" were recorded in November 2002. Penned by Rova member Larry Ochs, "The Drift" is a witty number dipped in past experiences. Reminiscences of R&B and swing-era jazz creep in through solo voices before being stolen and disarticulated by the group in a very entertaining and ear-pleasing fashion. "The M'ad-Din" is a composition from 1998 by Wadada Leo Smith (with whom Ochs played in What We Live, among other occasions). More contemplative, even solemn at times, it calls for quarter tones, various extended techniques, and an ear highly trained to unusual harmonies. Repeated listens reveal uncanny beauty hidden within the complex contrapuntal voices. ~ François Couture, All Music Guide
'The Works, Vol. 3'
Release Date 9/14/1999
Tracks 3
Label Black Saint
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What The Critics Say
The ROVA Saxophone Quartet provide a tiered, three-dimensional look into the interaction of soprano, alto, tenor, and baritone saxophone. The arrangement of these instruments in the stereo mix -- left to right on all tracks in the sequence soprano, baritone, alto, and then tenor -- offers great contrast in the three-dimensional sound. Even the bright little spark of piccolo or sopranino saxophone is involved in these works of sonic texture. While Steve Adams of the group contributes one piece to the three-work album ("The Gene Pool"), the rest are commissions. Robin Holcomb wrote "Laredo" for the group and Muhal Richard Abrams contributes "Quartet 1." Still, each work is a showcase for group improvisation. These explorative forays by the group are not usually intensely challenging Niagaras of notes, but just as often sparkling and moving moments of lyricism. ~ Tom Schulte, All Music Guide
What The Critics Say
While the title of the CD is obscure in and of itself, the long work that makes up this CD, "Maintaining the Web Under Less Than Obvious Circumstances," is a series of works that showcases ROVA's particular saxophone genius at creating games on the spot during performances. The strategies they developed for these games were created after working with composer -- and ultimate musical gamesman -- John Zorn on creating 20 different devices that could be used in performance to create extended possibilities for improvisation during a scored composition. These strategies are impressive because in the six pieces that make up this work, and the one outside it that is added here ("Grace" by Steve Adams and Larry Ochs), one can actually see Rova itself evolve as a saxophone quartet during the piece. No longer is there a distinction in their border straddling between European "new music," and good old Yankee free jazz. There is only Rova's own music, a clearinghouse for excellence from all quarters. This is most evident on the piece "The Web," where a series of cues are determined by one player which requires the second player to comment upon them while stating them, and in turn cues the remaining pair to create an entirely new set of phrases from the improvisation by the second player who has to respond to them. The first player then creates his next improvisational idea from the sum total and the work rotates, moving from player to player until all have played all the different parts. No duration or cadence is demanded of any player and, therefore, the work is original, new every time is it performed. Perhaps the most beautiful work here is "Grace," which closes the set. Grace is a completely scored work that sets itself apart from the rest of the recording not only by its methodology, but also by its approach to sonic texture and structure. Long, slowly winding lines are led by a front line of an alto and tenor, with dynamic sensibilities pushed to the side in favor of tonal restraint. The two other players begin to solo, first together and then one at a time, like singers, still restrained by pre-conceived tonal framework and dynamic absence. The music resounds from the architectural space itself -- in this case San Francisco's Grace Cathedral -- creating microtones from the vibrating interaction of the four saxophones. It is haunting and profoundly stark -- especially for Rova. Summarily, Morphological Echo is another truly wonderful recording in the already magnificent catalog of one of America's most important ensembles in any genre of music. ~ Thom Jurek, All Music Guide
What The Critics Say
Rova strikes again, this time with nearly a full album of commissions by British composers, namely Lindsay Cooper, Barry Guy, and Fred Frith. There is one piece by Ochs to round out the set. The works by Lindsay Cooper -- who plays everything from saxophones to flutes to clarinets to the bassoon and who scores dances, theater works, and films -- are the most satisfying. Perhaps because she works in structured environments so often, her two compositions for Rova -- "Face in the Crowd" and "Can of Worms" -- are a natural fit. The open sense of harmony and closely held but intricately woven melodies -- there are two, one Eastern and one Western -- pasted onto a backdrop of a seam where Ellington meets Milhaud, are so gracefully performed that it's tough to want to go any further. If anything, "Face in the Crowd" is a mini-symphony for saxophone quartet with its mode and movement changes and restatement of themes. Barry Guy's contributions, both entitled "Witch Gong Game," engage Rova's improvisational strengths properly. The shorter version is a solo for Raskin's baritone set against four written lines for the group members, who exchange them back and forth like trading cards, all elementally altered -- often humorously. The longer version uses the game as an exercise in the exploration of tonality through the gradual building of overtones through micro and polytonal invention. Again, though it is much more somber in tone and much longer (26 minutes!) the word "game" in the title is a clue to decipher the work. Fred Frith's "Water Under the Bridge" was written for Rova but dedicated to reedist and composer Jimmy Giuffre. The work is based on a section of his work entitled "Freedom in Fragments." For anyone who still thinks of Frith as just a guitar improviser, take a listen to this. The most elegant and spacious piece on this album is a tightly composed work that allows for set spaces of improvisation in precise locations in the score, and calls for them in certain keys and modes. It swings as gently and warmly as anything Giuffre himself would write. And while much has been made of the works of the composers Rova commissioned, the true celebration is in the playing of Rova itself. Rova's dedication, mastery, and almost magical interplay make this one of the quartet's most sophisticated and enjoyable records, but also its most accessible. This is a brilliant recording by a truly gifted group. ~ Thom Jurek, All Music Guide
'John Coltrane's Ascension'
Release Date 4/22/1997
Tracks 2
Label Black Saint
See Album Tracklist and Review
What The Critics Say
In 1965, John Coltrane led a famous screamfest, a nearly 40-minute jam called "Ascension" which was essentially a free improvisation (except for a loose melody and some frameworks that were played at spontaneous moments); the performances had wild free-form solos that were divided by even more intense group improvising. This 1995 live recording is not so much a recreation as much as a re-investigation of the original concept. The members of the avant-garde saxophone quartet Rova (altoists Jon Raskin and Steve Adams, tenors Larry Ochs and Bruce Ackley) are joined by Glenn Spearman also on tenor, trumpeters Dave Douglas and Raphe Malik, pianist Chris Brown, bassists George Cremaschi and Lisle Ellis, and drummer Donald Robinson. The CD opens with a seven-minute version of John Coltrane's "Welcome" featuring Larry Ochs with the rhythm section, but unfortunately Ochs does not have 'Trane's warmth in his playing. The new "Ascension," which is one second short of 50 minutes long, follows the original's format. Of the solos, Spearman and Malik have the most creative statements, although all seven horn players (plus the rhythm section) make the most of their individual spots. But it is the raging ensembles that are most memorable. Don't look for any mellow moments on this date. ~ Scott Yanow, All Music Guide
What The Critics Say
Many listeners may think of ROVA (comprised of Bruce Ackley on soprano and tenor, Jon Raskin on baritone and alto, Steve Adams on alto and sopranino and Larry Ochs on tenor and sopranino), the most advanced of the saxophone quartets, as playing free jazz, but much of their music on this CD is actually written out, tonal and occasionally rhythmic. The term "avant-garde" does fit as long as one keeps in mind that these very lengthy explorations of an original apiece by Tim Berne, Fred Ho and Jon Raskin ("Beyond" is the briefest at 16:56 while "Appearances" is one second shy of 31 minutes!) are to an extent planned in advance. The episodic music, which has intense individual statements, is at its most dynamic when all of the saxophonists are interpreting their parts; some of the highly expressive passages border on the miraculous, and in the case of "Appearances," are quite ferocious. Well worth several listens by more open-eared jazz listeners. ~ Scott Yanow, All Music Guide
What The Critics Say
ROVA saxophone quartet provide a tiered, three-dimensional look at the interaction of soprano, alto, tenor, and baritone saxophone. The arrangement of these instruments in the stereo mix -- left to right on all tracks in the sequence soprano, baritone, alto, and then tenor -- offers great contrast in the three-dimensional sound. Even the bright little spark of piccolo or sopranino saxophone involves in these works of sonic texture. While Steve Adams of the group contributes one piece to the three-work album ("The Gene Pool"), the rest are commissions. Robin Holcomb wrote "Laredo" for the group, and Muhal Richard Abrams contributes "Quartet #1." Still, each work is a showcase for group improvisation. These explorative forays by the group are not usually intensely challenging Niagaras of notes, but just as often sparkling and moving moments of lyricism. ~ Tom Schulte, All Music Guide
