Performance on Oct. 17, 1993
Reviewed: NOJS (Northeast Ohio Jazz Society) Newsletter, November, '93
by Jon Goldman
Not since the days of Roland Kirk, Albert Ayler and the Charles Lloyd of the '60s have Cleveland audiences seen such an exuberant and musically exciting performance as that of the Thomas Chapin Trio at the Bop Stop October 17. You could hear echoes of Kirk, Ayler, Lloyd and Henry Threadgill in Chapin's stylistic approach to the alto sax, soprano and flute — if you were a member of the predominantly youthful audience (mostly in their early 20s) who roared with approval at the mixture of free jazz, bop and r&b, presented with
joyful passion, humor and dedicated musicianship by Chapin, bassist Mario Pavone and drummer Michael Sarin,
Bop Stop owner Ron Busch had never seen his tiny club so packed, even on a Saturday night. It was SRO with people sitting and standing in the aisles. Announced mostly by word of mouth and the experienced low-budget PR efforts of NOJS founder Jim Szabo, the concert was presented by Szabo and fellow WRUW jazz radio programmers Don Sebian and Steve Hunder as a benefit for WRUW.
Chapin was blown away by the enthusiastic response of the audience and played three sets which had him jumping on and off the small bandstand, hopping up and down as he played, and reminding the audience that Pavone and Sarin were making two-thirds of the music, even if Chapin was the focal point.
Chapin combines the compositional devices of Threadgill— staccato cadences, insistent rhythms, unison statements with the bass, march-like flow, etc. — with free-flowing improvisations, seriously funny interpolations and melodies that are complex but moving. He departed from original compositions only for an original approach to "Body and Soul" that had echoes of the giants Coleman Hawkins and John Coltrane, but was very much Chapin's own.
Pavone's deeply resonant bass was easily heard in this lean trio and he provided a strong underpinning as well as an equal voice. Sarin's crisp and forceful drum work reminded me a lot of Ed Blackwell and Sunny Murray, but it also had elements that were very much not anyone else's. Having abandoned the straitjacket of "classical jazz," i.e. bebop, the trio was free to be free and free to swing which they did most of the evening. Their music belied the stereotype of avant garde as being "unswinging" (a club that was used to beat up on the innovators of the '60s). Oraette was always swinging and so was Albert Ayler in his own way.
Chapin has several recordings on the market and though I have heard only Thomas Chapin Trio Plus Brass (Knitting Factory Works), I would imagine that, based on this recording and the live performance, the other recordings featuring only the trio (which has been together for several years) are also as exciting, stimulating and important.
Chapin spent five years as Lionel Hampton's music director and featured soloist. He learned a lot about music and showmanship and audience connection which he has put to good use in making his own original and highly satisfying creations.