Herb Robertson - trumpet, mutes, megaphone, voice Tomek Les - guitar Adam Stodolski - double bass Przemek Borowiecki - drums, bells, paper
Recorded:
in concert at Szuflada 15 by MAQ Records , July 8, 2007
Reviews:
Herb Robertson has to be one of the most intrepid trumpeters around. He seems to be most willing to put himself in anomalous situations: the two-trumpet group he shares with Dave Ballou (MacroQuarktet), work as a sideman in various groups, membership in ad hoc assemblies like a trio with Evan Parker and Agustí Fernández or guesting with Pierre Dørge's New Jungle Orchestra. On Superdesert, Robertson collaborates with the Polish trio 100nka...
This reviewer was unfamiliar with 100nka (guitarist Tomek Les, bassist Adam Stodolski and drummer Przemek Borowieki) prior to this release. Based on this recording, they're a scrappy group, seemingly concerned more with splintering sound and rhythm, textural explorations and group interaction than with standard improvising. Robertson and the trio are clearly on the same wavelength as, in his own music, the trumpeter seems concerned with these properties as well. One hears lots of improvisation but very little soloing on this disc; it's true group music. There are long periods of quiet, tension-building explorations that are abruptly shattered by full-tilt aggressive explosions. (i.e. the first three tracks that lead into "Donkey Shit").
Much of Superdesert is filled with short pieces (in the one- to three-minute range) with lengthier explorations interspersed. Perhaps the most standard piece would be "Dog Shit" where Robertson is to the fore, sounding (surprisingly) a bit like Miles Davis in one of those languid interludes during his Agharta (Columbia, 1975) phase. The 13 pieces flow and jam into each other with artful deliberation belying their improvised natures. While much of this is off-the-cuff, it sounds like a lot of thought went into the sequencing and if there may be some reference points (Davis, Ornette Coleman's Prime Time, a bit of Sonny Sharrock in Les' playing), most of this disc doesn't sound like anything else. And I can't believe I got through this review without making any bad jokes tied to this disc's shitty song titles.
(review by Robert Iannapollo and AAJ, Published: January 12, 2010)
*****
How much shit can one take? Well that depends. If it is being served by the quirky Polish trio 100nka—featuring guitarist Tomek Leś, bassist Adam Stodolski and percussionist Przemek Borowiecki—there may not be quite enough. Their music is rather undefinable, jumping and sneaking as it does into odd nooks and crannies. Much of it comes from being inquisitive; some of it has to do with the men who influenced them, including John Coltrane, Ornette Coleman, Miles Davis, Drew Gress, Ellery Eskelin, William Parker and DJ Logic. 100nka has the perfect cohort in trumpeter Herb Robertson, who melds seamlessly into their manipulations. It is a different kettle of fish for him; long an inspired presence on the avant-garde map, with his marvelously tangential trumpet playing, Robertson tucks himself largely into the overall ambit of the trio.
The CD was recorded live, and gets off with the improvised "Elephant Shit." Sawed bass, tortured trumpet notes, lines scraped across the guitar, and vocals that scuttle to bring in an air of theater, waft across the imagination. The group moves from one track to the other, bridging them with logical cohesion. New sound patterns emerge and link with what has gone before.
"Donkey Shit" changes the mood. Robertson leaps into a fiery outburst, shards of tempest flying from his trumpet. Stodolski zaps a hard bop rhythm as Borowiecki lets the beat roll on the toms to transform the atmosphere.
"Moose Shit" is one of the strongest and most complete tracks, with all four making a distinct impression. The initial spell is cast by drums and guitar, conversing while changing shape and texture. The pith gets more pronounced when Robertson comes in and gradually targets the stratosphere. Volatility churns, and as the rhythm section rumbles in anticipation, LeÅ›ś gets into jazz-rock mode; an articulate messenger of the form, with a host of potent phrases and a blitz of feedback.
A whole load of shit is more than a Superdesert. It is a hearty meal. The real dessert is the exceptional cover art.
(review by Jerry D'Souza and AAJ, Published: November 27, 2009)
About Herb Robertson:
Born in New Jersey, he began to play trumpet in school during the fifth grade. He was introduced to jazz two years later by his junior high music teacher including Miles Davis. Robertson began collecting jazz records, listening to all styles from Louis Armstrong to the avant-garde and especially the era s hard bop. In high school he led a quintet that played dances. During 1969-73 he attended the Berklee School Of Music as an instrumental performance major, a period in which his improvisational skills became highly developed. In 1973 he left Berklee, playing on the road in Canada as a lead trumpeter with jazz-rock cover bands. In 1975 Herb Robertson had to quit playing music for a short time when the strain of performing nightly in a loud jazz-rock band caused him to temporarily lose his trumpet chops. Robertson altered his style, becoming a more lyrical and explorative player. In 1976 he started a rehearsal big band, also playing with some of the local avant-garde musicians in New Jersey. He met altoist Tim Berne in the late 1970s and first gained attention for his playing with Berne s groups during 1981-87. His tonal distortions and use of mutes looked back to jazz s past while his freer improvising was quite futuristic, fitting in very well with Berne s passionate alto playing. He also became a member of bassist Mark Helias group. Robertson, who first recorded as a sideman in 1982 and led his initial album in 1985, has since appeared on over 100 recording projects. As a leader he put together his own adventurous band in 1987 and has recorded for the JMT, Splasc (h), Leo, CIMP and Cadence labels. His groups since 1987 include The Double Infinitives, the Herb Robertson Brass Ensemble, and various all-star groups with Dominic Duval, Jay Rosen, Paul Smoker and Phil Haynes. He has worked with many of the major names of avant-garde and modern mainstream jazz including Anthony Davis, Bobby Previte, David Sanborn, George Gruntz, Bill Frisell, Paul Motian, Lou Graissi s Po Band, The Fonda-Stevens Group, Nexus, Barry Guy s New Orchestra, Michael Moore, Terry Jenoure, Andy Laster, Judi Silvano, John Lindberg, Gerry Hemingway, Zlatko Kaucic, the Satoko Fujii big band, Marc Ducret, Simon Nabatov, Mark Feldman, Pierre Dorge s New Jungle Orchestra, John Zorn, Roswell Rudd, Elliot Sharpe, the Klaus Konig Orchestra, Rashied Ali, Ray Anderson, Paul Motian, Dewey Redman, Evan Parker, Agusti Fernandez, Jean-Luc Cappozzo, Frank Gratkowski, Michiel Braam, Matthias Schubert, Mark Dresser, the Charlie Haden Music Liberation Orchestra ...He has been cited as an important influence by Dave Douglas. Herb Robertson, who has composed music for dance, theater and documentary films, also plays valve trombone, tuba, the Eb alto horn and little instruments. He has performed at many European festivals and New York clubs. In 2005 he, along with Dr. Ana Isabel Ordonez, started their own record label, RubyFlower Records, to promote avant-guard jazz and new music in its most extreme forms. Whether it is complex large group arrangements or free form duets, Herb Robertson brings his wide knowledge of jazz history along with his original voice and adventurous spirit to each session.
