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Back to Renovation Reviews Kelly Rossum Renovation “Kelly was hooked when Dizzy did ‘Sesame Street.’” Maybe that explains it. For a talented kid who first played a musical instrument 33 years ago, Kelly Rossum has a hard time staying in one place. Dislocation is germane to Rossum’s Renovation, a collection of largely original material that remodels music so that some listeners may be unable to reassemble it. Since some jazz lovers like staff lines, Renovation is not for everyone. From a technical standpoint, Rossum is gifted to a philosophical level of musical understanding. It is crystal clear, from the unconventional rim shots of “Cheap Cigars” to the momentary solitude of “Hennepin Bridge,” that Rossum inherently intends to challenge the ear. Who wouldn’t respect someone who uses a trumpet to imitate a dying quail (as Rossum does on “Taxi Funeral Waltz”)? Kelly Rossum sees his dream on the margins of the page. The value of Renovation lies in the first half of the record. To start, one chord for every two bars of rim-shots sets a potentially dramatic stage for the Rossum technique of redefined classicism. On “Lead Soldiers,” Rossum and sax player Chris Thomson swing in ensemble before Rossum fills the song with self-possessed voicing. “Life On Mars” highlights the original material; Chris Thomson’s solo organically blooms. It must be digested whole because it is played that way. Rossum’s trumpet work is spaced in two ways: it is processed, but it is imagined from a clear technical grounding. Pianist Chris Lomheim turns “Little Wing,” by Jimi Hendrix, into a most unlikely ballad in the storm of this chronicle. The Kelly Rossum Quintet reflects its leader’s musical persona. Although the drumming is technically sound, J.T. Bates appears to crave spontaneous interaction at the expense of a potential groove. The group states aural chaos on Ornette Coleman’s “Bugpowder”; spin a vinyl disc at 378 rpm (save the drums; they stay at 33-and-a-third) and you have it. “Disposable Assets” is more organized by the funky groove initiated by bassist Michael O’Brien, but it is over in two minutes. What’s the rush? Renovation’s conclusion, “Frances Loop,” is ironically simple. Bates’ rap-like drumming underscores a gloriously refreshing trumpet melody that one could easily whistle to the kids. Then, gone. Rossum’s amputated ending pretty much sums up the record: ambitious but uncomfortable. Some listeners like jazz the way it is. Those who wish to revise all aspects of the genre should consider Kelly Rossum’s Renovation a valuable contribution to the cause. Jazz Improv Magazine Vol. 5, Number 1, Page 283 www.jazzimprov.com Read Next Review