Ras Moshe Quartet "Transcendence"
KMB Jazz/2007
Personnel
Ras Moshe - alto, tenor, clarinet, flute
Rashid Bakr - drums
Shayna Dulberger - bass
Dave Ross - guitar
About
Transcendence finds veteran New York City reeds player Ras Moshe (alto, tenor, clarinet, flute) teaming with Rashid Bakr (drums), Shayna Dulberger (bass) and Dave Ross (guitar) for his first studio release in four years. Following a string of successful live recordings on the Utech label, Moshe has entered the venerable Park West Studios (William Parker, Mark Feldman, Ken Hatfield) in Brooklyn to work with renowned engineer Jim Clouse. The product is six new compositions by Moshe, augmented by two from Ross and one from Dulberger. With both feet planted firmly in improvised jazz’s past and both ears stretching toward the future, Moshe’s unique conceptions are vividly brought to life by this powerful group.
Reviews
All About Jazz (Vision Festival Performance)
Signal to Noise
All About Jazz
Downtown Music Gallery
KFJC 89.7 FM
July 2009 All About Jazz
"The Ras Ensemble" Vision Festival Day 4
Under the leadership of reedman Ras Moshe, the next band comprised regular partner Matt Lavelle on trumpet and flugelhorn (pictured right), Dave Ross on guitar, Charles Downs (formerly known as Rashid Bakr) on drums, and another welcome appearance for Shayna Dulberger on bass (background, right). Moshe (pronounced Mo- shay) was born in New York into a family of saxophonists, and has been paying his dues around town since 1986, generally operating in the free jazz idiom, and that's how it played out tonight over three pieces of dense fiery avant- garde jazz, with short heads acting as compositional signposts, during a 45-minute set.
An incremental pattering start left everyone going full pelt, at which point Moshe initiated a repeated tenor saxophone/trumpet unison, before subverting convention by indicating that Dulberger should take the first solo. Following the bassist's accomplished outing, Moshe stretched out on his burnished tenor, shadowed by abstract comping from Ross' guitar. Sadly Moshe sounded under-miked and it was only when his long flowing legato lines developed squalling overtones that he really cut through the dense ensemble. Downs kept a constant barrage on his hi-hat throughout, contrasting with more abstract pulsing round the rest of his kit, as part of the group's wall of sound aesthetic.
Dulberger was the star of this particular show—another monster bassist in the making if not yet the finished article. She had a big sound, clear articulation and very fast fingerwork, all put to imaginative use. And she proved a good listener, witnessed by her arco work spicing up a Lavelle solo of alternating high whistles and broken runs, with flurries of sawing and bouncing her bow to weave enhancing colors through the dense rhythmic carpet. A brief duet between Moshe and Lavelle closed proceedings drawing a healthy reaction from the home town crowd.
by John Sharpe
Summer 2007 Signal to Noise #46
Jay Collins "Transcendence Review"
Brooklyn-based reedist Ras Moshe has made a name for himself over the past several years as an active member of Brooklyn's Free Jazz Society with his own Music Now Society (sic). Here, Moshe offers his strongest outing yet, proving himself a player of depth and focus, favoring round edges and a flowing legato style. For Transcendence, Moshe has assembled a quartet consisting of guitarist Dave Ross, bassist Shayna Dulberger and drummer Rashid Bakr for nine compositions, six of which were penned by Moshe. They carry the influence of his interest in positivity and spirituality, mixing in straightforwardness and fiery intensity, with most of the music using theme-solo-restatement to incite improvisation. It is this diversity that sets Moshe apart, by eschewing the concept of nine slices of vapid modality or bashing, rudderless improv, rather, the group is comfortable in diverse settings. The opener, "Transcendence" is an example of the group's midtempo swing, with a melodic string that sticks in one's head, though Bakr sounds somewhat clunky in this setting. Along similar constructs, the fluid thoughts of "All Flow" reflect Moshe's introspective and melodic devices, with a strong solo from Dulberger. Moshe's highmarks, especially in terms of solos, emerges during the crescendos of the waltz-based "Sun Room," as well as the spiritual realms of "Far Sight" and the hushed, AEC-like flute/percussionistic "Flute Peace For Charles Llloyd." Workouts like the searching "If You See Something, Say Something," Dulberger's sprightly "Turtles All The Way Down" and the obvious ode to the Coltrane/Ali duets from the sixties, "Interstellar Brooklyn," all represents Bakr's best playing of the record, with his rolling style that fits the forward momentum generated. The real find here is Ross. With s moody timbre and a wicked sense of percussive prickliness, the guitarist's harmonics glisten on "Far Sight," soar on the elliptical dots of "All Flow" and undulate on his potent "Carol Not Christmas."
6/4/07 All About Jazz
Robert Iannapollo Transcendence Review
Saxophonist Ras Moshe has been gradually making a name for himself as one of the best of the fiery saxophonists of the New York underground. He's released a series of limited edition live recordings on the Utech label that have impressed those who have heard them (unfortunately a small number of people). Now comes Transcendence on the Kordova Milkbar label, not much more high profile than Utech but I suspect they may be a little more readily available.
Transcendence is a quartet date with Moshe's working group featuring Dave Ross (guitar), Shayna Dulberger (bass) and Rashid Bakr (drums). On this disc, Moshe proves himself to be a saxophonist very much in the tradition. Those who scoff at that idea are those who have yet to come to grips with the idea that the tradition now includes John Coltrane, Albert Ayler and Archie Shepp. While Moshe clearly derives inspiration from these players, his sound is unique: dry, a bit tart, with a strong booming presence in the lower registers.
The surprise of this disc is Ross who obviously listened to Sonny Sharrock and whose fast strumming, when dueling with Moshe during the disc's several collective interludes, recalls that past innovator. He also has a ringing tone that frequently fleshes out the quartet sound in a unique, almost orchestral manner. Dulberger is a powerful force in the lower end. Her presence, frequently a low growling rumble, bristles with energy and gives the music its forward momentum. Bakr's multi- directional drumming is as effective as when he stoked the fires of the Cecil Taylor Unit 25 years ago.
The program consists of nine diverse compositions: two by Ross, one by Dulberger and the rest by Moshe. The leader's title track alternates between a medium tempo swing and a slow balladic section. "If You See Something, Say Something" is a free jazz blowout, short, to the point and clearly articulated. Ross' "Sun Room" starts as a pleasant, relaxed waltz that builds wonderfully to an intense peak in what is perhaps the best group performance on the disc, Moshe really digging in on this track. With Transcendence Moshe's quartet stakes its claim to being one of the more exciting groups on the scene.
4/9/07 Downtown Music Gallery
Bruce Lee Gallanter Transcendence Review
This the 7th disc as a leader from our good friend and local jazz historian, Ras Moshe, featuring Ras on tenor sax and flute, Dave Ross on guitar, Shayna Dulberger on contrabass and Rashid Bakr on drums. I am not familiar with the guitarist, Dave Ross, on this disc, but Ms. Dulberger has been playing with Ras for the last year and seems to be involved in a few other projects. Rashid Bakr is certainly one of downtown's best drummers, having played with Other Dimensions in Music and for Cecil Taylor. Recorded & mixed exactly 3 months ago today (January 4th of this year), with pieces by Ras, two by Dave and one by Shayna. The title piece opens this disc and has a fine jazz melody that is easy to remember, quite a bit straighter than most discs by Mr. Moshe. Dave Ross takes a most impressive, free guitar solo that is overflowing with ideas. Ras has matured through the years and has made a most impressive free/jazz quartet effort that sounds powerful and inspired throughout. "Sun Room" has a warm and sunny melody with Dave playing some strong, hypnotic chords that build as Ras takes a powerful tenor solo. "Flute Piece for Charles Lloyd" begins with everyone playing bells, cymbals and small percussion as Ras plays some somber flute. "All Flow" features a most haunting melody with a fine bass solo from Shayna, a superb tenor solo from Ras and superb swirling drums from Rashid. Considering that I hadn't heard of guitarist Dave Ross before this disc, I must admit that he is one the best avant/jazz guitarists I've heard in a while. Both he and Ras work so well together, swirling their lines of notes around one another in an amazing well-connected tapestry. Acoustic bassist, Shayna Dulberger, is another important new musician to watch, she takes a number of amazing solos on this disc that show her to be a new force to be reckoned with. What more can I say about the great Rashid Bakr, except that he is sadly under-recorded and plays wonderfully throughout this entire great disc. An excellent offering, from beginning to the righteous end.
3/30/07 KFJC 89.7 FM
Max Level Transcendence Review
Ras Moshe (reeds, flute) and company represent the Brooklyn style of jazz ("lots of sun and peace!" he says) on this fine 2007 studio effort. He has his own style on tenor sax, tending to play with a relatively smooth, non-raspy tone, but he can definitely take it outside when the situation calls for it. Veteran drummer Rashid Bakr has played with many of jazz's big names,and this group benefits greatly from his first-rate touch and timing. Bassist Shayna Dulberger is new to me, and, as young as she is, she handles her tasks admirably. Sometimes, though, I wish she was a bit higher in the mix; when all four members are playing together, it can be hard to hear her. Guitarist Dave Ross provides a wide variety of jazz and not-exactly-jazz sounds that are right at home in this outfit; he does a nice job with mellow jazz chords and gently chiming harmonics, and he also unleashes rippling Sharrock-like bursts that really light a fire under the band. Standout tracks are:#1 is a sweet and swinging tune featuring Moshe's tenor, with some wild guitar/bass/drums soloing in the middle. #5 is a Charles Lloyd-like flute/percussion peace piece. #8 is a blazing tenor sax/drums duet that threatens to tear the damned roof off.