The International Contemporary Ensemble's Skirball show on Saturday similarly demonstrated the value of presenting Davis' music on a chamber scale. It opened with “Clonetics,” the fifth and final movement of a dance piece originally commissioned for Molissa Fenley and the Dancers. The entire work is included on the unfortunately out-of-print album “Hemispheres”, some of which features delightful rhythms and motive designs that Davis later included in “X”.
On Saturday, “Clonetics” reaffirmed itself as a unique, sculpted wonder, a world of nested rhythmic designs splitting and recombining over eight explosive, exquisitely conceived minutes. Percussionist Pheeroan akLaff, who was featured on the original recording of “Hemispheres,” provided grounding and effectively directed the ensemble from behind his kit. Even the younger members played with such calmness that they were impressed. It offered a wider range of dynamics than on the album, and trumpeter Hugo Moreno took advantage of Davis' invitations to improvise.
From there, the ensemble moved on to the equally 1980s Balinese-tinged “Wayang No. II,” as did “Clonetics.” and
I've been hoping for a long time to see Davis' past albums reissued. But what if the International Contemporary Ensemble had just recorded a new version? And when Davis next took the stage to produce a set of short, improvised piano variations from his “Wayang” series, rich in variations of melody, rhythm, and pedal effects, I also realized that I needed more solo recitals from him.
In a 2022 interview, Davis said he enjoyed being an “underground man” traveling between jazz festivals and opera houses and that “not everyone sees everything.” Similar objections arose from Blanchard's retrospective. Like Davis, he gave plenty of space to his younger colleagues.
In that respect, Blanchard and Davis don't have Morton's pride. Of course, this is easier if you already have Met approval. But this weekend's concert showed that both composers have earned bragging rights across the musical spectrum.