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Assif
Tsahar & Alvin Fielder
Houston TX, 24 January 2001
by Frank Rubolino
April 2001
 As though to relieve the doldrums of January and after-holiday blues,
Assif Tsahar and Alvin Fielder miraculously appeared for a one-night
stand in Houston at the downtown coffeehouse and chess haven No Tsu
Oh. This converted commercial building now attracts a new bohemian
crowd anxious to dabble into alternate forms of art and culture, including
creative improvised music such as was presented by this duo.
Tsahar began the first set on tenor with an exhibition of strength
that was to last him the entire evening. Using circular breathing
while beating out swirling streams of electricity, he immediately
dove headlong into furious playing that so aptly characterizes his
approach. An avalanche of sound erupted from his horn seconds into
the performance as he rapidly fluttered the keys. Tsahar is not simply
a stand-up-and-blow type of player; although he starts and stays
strong, he directs the mass energy bursting from his horn into logical
progressions of layered sound much the way Sonny Rollins does. The
ideas keep rolling off his tongue and are splattered against an audience
attempting to absorb the clamorous cacophony-turned-symphony that
is engulfing them. With neck muscles bulging, Tsahar carries his
audience along in the rushing current through turbulent rapids and
tumultuous eddies that can be enervating, leaving everyone drained
from the experience except Tsahar.
Fielder is an articulate drummer and an amazing historian of the music.
Before the show, he enumerated a lengthy list of drummers whom he
respects, including the legendary Pittsburgh drummer Joe Harris. From
that list, he culled out one name that stood out for him—percussionist
extraordinaire Max Roach. While Tsahar was leading his crusade, Fielder
began by paying respect and homage to Roach with a very identifiable
salute to the influential pioneer. In seemingly impossible contrast,
Fielder was able to play a drum melody line behind the blowing of
Tsahar. He often reverted to a common theme, such as a four-note pattern
that acted as glue in holding the performance together. He then would
become fully energized, using crossed hands while pounding out lightning-fast
strokes of high rhythm that were consistent with the kinetic direction
of Tsahar.
 During
both sets, Tsahar switched to the bass clarinet in what became a tranquil
pool amid the rushing water. The low, mellow tone and smoother sound
signaled an obvious drop in energy but not in creativity. His tone
was beautiful and resonated throughout the room while Fielder molded
his own creative music. Fielder evoked strong images with an Afro-Cuban
Nanigo pattern and then spontaneously paid another tribute—this
time to his long-time friend, the recently deceased super-drummer
Vernel Fourier. The tribute was eminently recognizable and was quite
fitting as Tsahar took the bass clarinet into a higher register with
increasing power. Fielder also used mallets quite effectively in supporting
the cries from Tsahar. As a drummer, he swings while still being able
to take the music out as far as it can go.
For a
finale, Tsahar invited trombone player and curator David Dove to
join them. It turned into a wild outburst with Dove matching the
power of Tsahar while each jabbed and prodded the other to reach
new heights. Dove blows with fury of his own, showing the influence
of Albert Mangelsdorff in his playing. The twelve-minute contest
was fully charged, allowing both horn players to stretch out with
high-tension collective improvising.
After the last set, Fielder held a discussion clinic for the admiring
few that stayed to listen. He talked about the early rhythm and blues
bands that roamed Texas, of the piano players whom he considers to
be true geniuses (Muhal Richard Abrams headed this list), of his
early days with the AACM and as the original drummer with the Roscoe
Mitchell Art Ensemble, of Monk and his ability to take threads of
19th century classical themes and turn them into jazz classics, of
his recent appearance at the Tampere, Finland Jazz Festival with
Kidd Jordan and Joel Futterman, and of numerous other historical
tidbits on the music as seen through his eyes over the years. He
also admitted that this was the first time he and Tsahar had ever
played together. No one wanted to accept that, given the true telepathic
current that flowed between them. He even explained how seasoned
veterans are able to do just that. He got into a technical discussion
on what Tsahar was doing and how it fit into a framework that allowed
him to respond.
This after-set seminar was a priceless additive to an already heady
musical experience. Tsahar and Fielder clicked on this night, making
music with sustained and sustaining power. It cured the January blues
all right.
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