Karl Berger - Transit (Black Saint, 1987)

This post is by Dan

Karl Berger (p, vib); Dave Holland (b); Ed Blackwell (d)

Recorded August 25 and 26, 1986

Transit is one of the most surprising albums to appear on Giovanni Bonandrini's Black Saint label because it contradicts the label's reputation for free and avant garde music. Transit combines the talents of German pianist/vibist/composer Karl Berger, British bassist Dave Holland, and American drummer Ed Blackwell. The music on Transit is easily approachable and played with particular zest. Holland is in solid mid-career form; Blackwell is one of jazz's most accomplished drummers. Both played on one of Berger's early albums, Tune In (Milestone, 1969), so their meeting on Transit is not as a "super group," despite the super status of each player. 

Berger reportedly left a political career in post WWII Germany to pursue a musical career. Much of his work was based in universities, but he also recorded over 40 albums, beginning in 1967 and continuing to the present. He wrote all the compositions for Transit, which was recorded in upstate New York. 

Berger's approach to composing and playing is basically melodic, as opposed to harmonic. In lay terms, his music usually progresses linearly in single note runs, particularly when he's playing vibes (with two mallets, not four). He plays more chords when playing piano, but the main thrust is melody, note by note. 

On Transit, the style serves the group well. Berger quips in the liner notes that on his first hearing of Blackwell on record, he thought there were four drummers playing, not just one. Blackwell conjures up so many different sounds, it's understandable to mistake him for a larger percussion section. As for Holland's work in the trio context, he's simply one of the very best. He has such great facility, and he can seemingly play anything, at any time, at any speed. But rather than showing off, he remains the solid anchor for the other players. His tone and touch are marvelous and captured well by engineer Tom Mark.

My favorite cut on the album is "Chimney Road," which employs an unfamiliar yet seductively pleasing chord progression. Berger plays his best piano on this cut, and everyone appears to understand the unique nature of the tune. Berger's explanations of each of his compositions are interesting; it's nice to know what the inspirations are. The notion of transition, which pervades the album, refers to the "ever changing realities of life and creativity." Berger views that theme as universal "whether we like it or not."

In addition to Transit, I recommend Berger's 1990 recording on Black Saint, titled Around, using a different group that includes a guitarist. Also, Crystal Fire (Enja, 1991) reunites the trio from Transit. Even more intriguing is Berger's role as co-producer and performer on an album by Larry Chernicoff titled October (Windy Planet, 2002). October is a sonic and artistic beauty that should be explored by any jazz lover.