Transformations (feat. Klangforum Wien, Emilio Pomárico, Tony Coe, Franz Koglmann & Peter Herbert) / Transformations (feat. Klangforum Wien, Emilio Pomarico, Tony Coe, Franz Koglmann & Peter Herbert)

This is no doubt a remarkable album, and if not, then at least a wondrous or perhaps curious one. It showcases the rapidly developing skills of guitarist and composer James Emery, whose career has traversed a not altogether straight line from the pure avant-garde of his early years to this highly detailed third stream symphonic work that incorporates a light (though not unserious) touch that defies categorization. The first eight tracks are part of Emery's suite entitled "Transformations (Music for 3 Improvisers and Orchestra)," the three soloists being Emery and Between the Lines regulars Tony Coe (saxophone and clarinet) and Franz Koglmann (flügelhorn). The compositions are the sort of nimble, though intricate, pieces sometimes explored by classical composers such as Lucas Foss, with the emphasis on the written note, punctuated by "Interludes" that provide moments of contemplative free improvisation. The final five selections are grouped together under the heading "4 Quartets," and include the three soloists plus bassist Peter Herbert in largely uninhibited, though nonetheless "cool" settings that are probably more consistent with what the listener might have expected from Emery at this stage in his career. The revolutionary part of the recording and that most likely to be spoken about and debated is, of course, the symphonic section. Perhaps to the composer's credit, it is also the portion that is most difficult to evaluate, for even more than most music of the third stream, it does not fit easily in any genre. Is it jazz? Well, not exactly, and certainly the non-improvised "Movements" are not. Is it classical music? To be sure, substantial portions of it are, but as strictly classical music it is unlikely to be judged as extraordinary. However, the blend and the bending of genres through a lens unique to the composer are intriguing, and whether Emery has produced a work that will stand over time, well, only time will tell. There are, though, enough strong segments featuring Koglmann, Emery, and Coe that their admirers might wish to explore them in this slightly different context.