Buffalo Collision
London, Vortex
01 March 2010

Tim Berne; alto saxophone
Ethan Iverson; piano
Dave King; drums
Hank Roberts; cello

The last time I reviewed Buffalo Collision for thejazzmann, which was just over a year ago, they played what I considered a rather unsatisfactory set to a packed house. Perhaps I wasn’t the only one who went home that night disappointed, as both houses this time around were poorly attended. That was a pity for those who stayed away since this year, at least for the second of their two sets, the group turned in a performance of a much higher calibre.

There may still be a lingering sense of distance between the two parts of the group (Berne and Roberts go back a long way, while Iverson and King played together in the Bad Plus) but this breach is closing. The evening’s highlights may still come during duo passages, but the group also interact collectively with much greater effect. I don’t know how often they play together, but increasing familiarity seems to be paying dividends.

Their first long number was a turbulent affair that Roberts, with his comparably delicate instrument, seemed to struggle with; he had to rely on his cello’s amplification and forcefully rip notes from below its bridge to underscore Berne’s blustering attack and King’s exuberance. Somehow, everything resolved at length into a music-box leitmotif from Iverson accompanied with a canny lightness of touch by King.

The second number continued in this more refined mode with Roberts now bowing against Iverson’s piano in very effective counterpoint. Berne later took two of the loveliest, most effective solos I’ve ever heard him play. As the piece built it became more abrasive, though Iverson gave it a gospel feel via his contribution. Roberts’ drew some pretty rude sounds from his cello and King’s impressionistic drumming became viscerally loud. Berne can be expected to get as raw as anyone, but on this occasion he was content to lay out rather than overcook an already heated piece; he let it play out as a fine, abrasively textural trio feature.

The third piece was satisfyingly contrasting, characterised by a jauntiness to which Roberts imparted a folky aspect, while the concluding number kicked off with a rapid feature for Berne’s alto and Iverson’s piano, followed by a tattoo from King across which Roberts again drew some dry-gut, below the bridge bowing. The piece finished with a full group statement that served to emphasise the greater balance and cohesion the band have achieved.

After the gig the only album for sale at the bar was the inexplicably dreary and now thankfully out-of-date ?Duck’. The groups’ next effort, on tonight’s evidence, should be something else altogether.

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