By Philip Mosberg

Percussionist and AACM member Kahil El' Zabar's Ethnic Heritage Ensemble have been making music for twenty years.  Over the course of that time the instrumentation has remained- two horns and drums; no bass.  This time, on the group's new Freedom Jazz Dance (Delmark) record, the Ensemble invites guitarist Fareed Haque to contribute.  The results make for some inspired improvisation and interesting rhythmic interplay.

The title track, originally written by late Chicago saxophonist Eddie Harris, was given it's difinitive rendition by Miles Davis's Quintet (on the album Miles Smiles).   While the Ethnic Heritage Ensemble's version is in no danger of usurping Davis' prestige, the group does give and interesting spin on the tune.  Set over a funky guitar vamp, saxophonist (and fellow AACM member) Ernest Dawkins and trombonist Joseph Bowie give an abrieviated statement of the theme.  The three distinct phrases of the head are all pushed together frantically, turning a loose 16 bar melody into a hurried 8 bar workout;  almost as if the band can't wait to get to the blowing section.

That feeling of urgency is reinforced by Dawkins's fiery sax work throughout the record.   His alto sax screams, growls and bombards the listener with ideas, supporting his status as one of the most exciting horn players in the city. Check out his energetic blowing on the briskly swinging "Catch Me", the closing tune "Burundi", as well as on the title track.

Joseph Bowie handles his trombone duties admirably throughout the session.  His slurred, rumbling phrasing is especially inspired on the funky "Mama's House".   Initially I was bothered by the thin, trebley tone of Fareed Haque's guitar.   However, repeated listenings allowed me to get past that and experience his well thought-out, bluesy phrasing.  Bandleader Kahil El' Zabar's polyrhythmic drumming provides the engine that drives the frontlines improvisations.  His use of traditional African purcussion, especially the thumb piano on the ballad "Katon", provide interesting colors for the others to work with and around.

Throughout,  Freedom Jazz Dance celebrates the spirit of improvised music.   A few of the heads are not played  perfectly (even Miles botched part of "Freedom Jazz Dance" 's tricky melody), but that doesn't get in the way; it's the feel of the group and the improvisations that matter.  Overall, Freedom Jazz Dance isn't an instant classic, but the energy and spirit throughout make it worth checking out.

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