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Quartet for the end of time.

Publication: The Nation
Publication Date: 11-APR-05
Format: Online
Delivery: Immediate Online Access
Full Article Title: Quartet for the end of time.(Music - Hindu spirituality as well as the legacy of jazz masters have shaped the music of David Ware)

Article Excerpt
DAVID S. WARE

When David Spencer Ware was a baby, his mother pronounced a blessing over him. Go See the World became the title of the saxophonist's first major-label record, for Columbia. Now, his new three-CD set suggests that he may have taken her mission statement a step further. It's possible, of course, to read a title like Live in the World in two ways. On one level it's straightforwardly descriptive--these are live dates recorded in Switzerland and Italy. But it also sounds like an injunction not to overlook the near-at-hand.

That might strike an unexpected note for those who know--or think they know--Ware as a remote, otherworldly artist. The inside jacket of Live in the World (Thirsty Ear) features a passionate prayer to Lord Ganesh, one of the five principal Hindu deities. And Ware has long had a penchant for allusions to the cosmos, karmic responsibilities and occult rhythms. But let's be clear: However mystical and spiritually inclined, David Ware is also profoundly committed to the basic mechanics of jazz music, its nuts and bolts, and its history. This is, after all, a man whose absorption in Eastern religions and Vedic astrology is balanced by a passion for the race cars he used to watch throwing up dust around Plainfield, New Jersey--a spiritualist who has spent much of his spare time shooting his rifle at target ranges.

A casual exposure to some of Ware's earlier records--Flight of I (1991), Third Ear Recitation (1992) and Earthquation (1995) or the titanic Godspelized (1998)--might lead you to think that his work merely picks up where John Coltrane left off. The fact that Ware has worked for the past fifteen years in the same format as the classic Coltrane quartet--tenor saxophone, piano, bass, drums--does little to dispel this impression. Not surprisingly, he is often described as a latter-day exponent of the restless, questing, avant-garde jazz of the 1960s known...

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