Even free jazz has had its share of acoustic purists, who insist that a free jazz recording isn't authentic unless it uses acoustic instruments exclusively. But thankfully, there are plenty of electric musicians who refuse to be swayed by such dogma; they realize that electric bass, electric guitar, and electric keyboards are a valid part of avant-garde jazz expression. And there is no reason why acoustic and electric instruments cannot coexist on a free jazz album, which is exactly what transpires on
Totem's Solar Forge. On this 2007 date, the trio
Totem is one-third electric and two-thirds acoustic; Bruce Eisenbeil's electric guitar is joined by Tom Blancarte's acoustic bass and Andrew Drury's drums. But despite Blancarte's presence on upright bass, Solar Forge is a very electric-sounding CD -- and much of that has to do with Eisenbeil, who brings a strong rock influence to four lengthy performances: the 15-minute "Blooming Ore," the 13-minute "Austenized," the 13-minute "Hephaestus' Wrath," and the nine-minute "Annealed." Eisenbeil gives Solar Forge a very amplified sound, but that doesn't detract from the disc's free jazz appeal at all. There is never any doubt that Solar Forge is free jazz, and free is the operative word from start to finish. Solar Forge does not favor an inside-outside approach; the performances start outside and stay outside. And while the performances are chaotic, they are also very focused. To those who don't comprehend free jazz, that might sound like a contradiction -- how can you be chaotic and focused at the same time? But Solar Forge does, in fact, sound like chaos with a strong sense of purpose -- and it is a prime example of how electric and acoustic instruments can be productive allies in avant-garde jazz. ~ Alex Henderson