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New York-based cellist Hank Roberts (Indiana, 1954) established his credentials
by playing with
Bill Frisell and
Tim Berne.
His music is mainly influenced by free-jazz but also incorporates elements of
soul, blues and classical music. His technique at the cello often mimicks other
instruments, both western (harp), rock (guitar) and eastern (sarod, kora).
His falsetto (when he sings) indulges in metaphysical croons a` la Robert Wyatt.
Black Pastels (december 1987 - JMT, 1988) is his "experimental" album, but, unlike most
improvisors of his generation, Roberts always keeps an eye on the tradition
even when he is inventing new sounds; so much so that some of his
most avantgarde pieces sound like variations on square dances or bluegrass
breakdowns.
The ensemble includes guitarist
Bill Frisell, saxophonist
Tim Berne,
drummer Joey Baron and three trombonists
(Ray Anderson, Robin Eubanks, Dave Taylor).
Black Pastels is emblematic of Roberts' mixture of neoclassical and
folkish attitudes, as well as of his preference for organic, well-formed
structures, that in this case lead to a sort of voodoo chant and a
sinister beat.
Even the mournful elegy of the horns in Choqueno, that initially
sounds abstract and free-form, eventually picks up rhythm and grows into
a vibrant fanfare.
Granpappy's Barn Dance Death Dance is a looser (and hilarious) set
of variations, from free-jazz improvisation to circus music to lounge shuffle
to childish noises.
Even funnier is Scarecrow Shakedown, jump blues for a mental asylum.
Throughout the album,
wit and elegance coexist and feed each other.
Lucky's Lament is the exception to the rule:
a dejected lamentation leads to a tragic atmosphere, somewhere between
a Native-American chant and a New Orleans funeral.
Arcado (february 1989 - JMT, 1989) is a string trio with Mark Dresser and Mark Feldman.
Arcado became a project on its own and also released
Behind The Myth (march 1990 - JMT, 1990) and
For Three Strings And Orchestra (june 1991 - JMT, 1992).
Birds Of Prey (february 1990 - JMT, 1990) is a funky combo led by Roberts, that performs
songs (with a female vocalist more reminiscent of rock vocalists than of jazz
vocalists). The instruments are cello, guitar, drums and bass.
Their songs are occasionally
rocking and vibrant (Comin' Home),
with epic socio-political overtones (Seven Generations, Hear Me).
The most energetic number, Angels And Mud, is redolent of hard-rock
and prog-rock. The brief Scream is almost punk-rock.
His eclectism permeates Little Motor People (december 1992 - Verve, 1993)
with Django Bates on keyboards and Arto Tuncboyaci on percussion. The
18-minute Saturday Sunday is a veritable collage of musical styles of the American heartland in the tradition of Copland and Ives rather than jazz, although performed from a jazz viewpoint.
22 Years From Now (june 1996 - Level Green, 1997) is a solo cello and vocals work
that was recorded in a monastery in 1996.
I'll Always Remember (Level Green, 1998) is the trio of Roberts, Bill King (drums) and Peter Chwazik (bass), playing a relatively soulful music that is more akin to progressive-rock.
The Truth and Reconciliation Show (september 2002 - Hipitch, 2002) showcases Roberts' compositions for large ensemble (cello, horns, guitar, keyboards, drums, bass).
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