Phalanx - In Touch (DIW, 1988)

This post is by Scott and Dan

James "Blood" Ulmer (g, fl); George Adams (ts, ss, fl); Sirone (b); Rashied Ali (d)

Recorded on February 27 & 29, 1988

Phalanx is a collective of four of the most significant voices to emerge from the 1960s, dedicated to carrying on that decade's commitment to free jazz. James "Blood" Ulmer's unique approach to guitar is paired with George Adams' selection of reeds for a strong front line, backed by two of the most powerful rhythm partners of any decade. The set consists of a fascinating group of original compositions by group members and an unforgettable performance. 

Adams was born in Georgia in 1941 and lived only to age 52. He was a partner with Don Pullen in a great 1980s quartet - see Scott's post of Earth Beams. He was the subject of Pullen's marvelous composition "Ah George, We Hardly Knew Ya," which appeared on the pianist's Ode to Life album (Blue Note, 1993). 

By switching horns, Adams adds valuable diversity to In Touch. The first two tunes ("Keeping Still" and "Line In Line Out") are taken on flute, and he explores the soprano at length on "Spanish Endeavors." He ventures outward with his tenor on "Look and See," a great example of the strong connection between Adams and Ullmer. Overall, Adams demonstrates his considerable strengths as a musician committed to expressing a variety of emotions in different ways.

Ulmer emerged from the soul jazz circuit of the 1960s but was transformed by his stint with Ornette Coleman. Imagine harmolodic guitar and you might understand Ullmer's unique approach to playing the electric guitar. He co-founded the Music Revelation Ensemble with David Murray in 1980 and also performed with an array of avant-garde musicians including Pharoah Sanders, Arthur Blythe, and Sam Rivers. 

Ullmer's tone is deliberately unlike the litany of jazz guitarists following in the footsteps of Grant Green and Joe Pass. His tuning and lack of sustain result in a jagged, chattery style of playing that is nonetheless lyrical. One can hear his influence on modern players like Mary Halvorson, although he "out-souls" most guitarists of any generation. His interactions with Adams on In Touch are exciting, unexpected, and intense.

Rashied Ali, born Robert Patterson, is no stranger to intensity, as he played with John Coltrane during the tenorist's latter years. Sirone, born Norris Jones, is of like mind. He's played behind Cecil Taylor and Sabir Mateen. We have reviewed some of Sirone's gentler work on Walt Dickerson's Life Rays album. He's a tower of strength on In Touch.

All of the musicians in Phalanx were born between 1935 and 1940 (Ali was the eldest). Only Ullmer is still alive. As they came of age musically in the 1960s, they heard different possibilities and collectively forged new directions. They maintained their quest through the 1970s and arrived in the 1980s with a refreshingly new take on jazz. With In Touch, they offer a mature expression of their vision in what we consider to be one of the best albums of the period.