Tim Berne definitely feels the “composing jones.” It was something he experienced before, in the mid-’90s, when he was writing lengthy opuses to his Bloodcount quartet. His Paraphrase band started focusing on three-way improvisational dialogues that included Berne, drummer Tom Rainey and bassist Drew Gress. The Paraphrase improvisational approach soon seemed to capture more attention from the reedman than the score/improvised Bloodcount mix. But his writing side began to take over. As the ’90s turned into the ’00s, he was writing and recording many new compositions with various groups, including the Hard Cell trio with Rainey and keyboardist Craig Taborn (The Shell Game); as well as the Science Friction quartet featuring Marc Ducret, Berne, Rainey, Taborn, and Taborn. The 2002 release Science Friction features the Paraphrase improvisational band. They perform music that is as densely constructed and composed as any Berne record. Pieces range from 12 minutes and 20 second “Manatee Woman”, down to just one minute of “The Mallomar Maneuvre,” and it may be the longest Berne disc. Science Friction’s eight tracks contain all the elements expected of the saxman’s music: the unison and counterpoint spiky melodies, rhythms that keep forward momentum despite their twist meters, and the seamless transitions between composition and improvisation. Science Friction is a significant shift in Berne’s career, not only because of the dense composition and relative brevity, but also because of its increased focus on composition and relative brevity. Before, he had used electric instruments in his music, such as Taborn’s keyboards on The Shell Game, and Ducret’s guitar on scattered releases, up to and including Open. Coma. Berne allows the producer to sonically play with his alto Sax (he doesn’t use a baritone) and distort and manipulate his sound, and in the case “Mallomar,” bend and fold it into completely new shapes. David Torn is the producer. He had worked previously with Berne, but Science Friction gives him the most freedom to use his unique skills. (Torn’s mixology will be even more prominent on Berne’s New World CD, The Sevens. It is a stunning production that features inspired performances by all four members of the band. “Huevos,” the rousing opener, begins with a fusion-like vibe. It ends with Ducret playing a near Baroque guitar passage. “Sigh Fry”, which is unusually spacy, is ethereal and “Manatee Woman” combines funk and what sounds like heavy metal mutants. It’s hard to pick out any tracks, as each track is captivating in its own way. These musicians have once again proven themselves to be some of the most talented in cutting-edge jazz. Berne’s unique musical style and personality is what’s most remarkable about these new environments. He adapts to changing trends and technologies, but his music remains the same. Science Friction is his latest recording success. However, if one looks at Berne’s earlier releases in the early 00s, it seems more like a plateau. Cool, too, are the new Screwgun sleeves. All music
