Back to the Future

Combining one studio and two live sessions recorded during a span of more than 26 years, one of the most striking aspects of Back to the Future is the return of Andrea Centazzo in 2005 after years of inactivity as a percussionist. Performing with Anthony Coleman on piano and Marco Cappelli on guitars, Centazzo is near the top of his game for his return, as the trio, performing live at the New York City club Tonic freely improvises its way with a unique flair. Cappelli takes his cue, with solid results, from English provocateurs Derek Bailey and John Russell; Coleman solidly pursues angular, syncopated thrusts; and the percussionist gradually builds to a powerful conclusion. "Back to the Future #3" may be the most fully developed of the three pieces from the 2005 session, though the other two are worth their weight, with the ringing phone on "Back to the Future #2" a particularly clever device. Thankfully, Centazzo did not follow the path of those whose styles have commercialized over time, and his radical vision remained pure. Coleman is a treat to hear, as he is rarely found in such an unrestrained atmosphere, something he clearly enjoys. The remaining five tracks (the first three performed in the studio in Italy in 1980 and the last two recorded live a year earlier in London), while stylistically related to the first two, begin with greater subtlety, as the trio of Davey Williams on guitar, LaDonna Smith on violin and vocals, and Centazzo on percussion mines the scratch 'n sniff genre to great effect. With time, the group breaks from its shell, becoming progressively more forceful. Each of these five tracks is distinct, and while "Back to the Past #1" (whose past? Centazzo's?) might appear a bit static, "Back to the Past #2" fascinates with ever-changing strategies, something that continues with "Back to the Past #3." Smith's wildly elastic vocals (seemingly influenced, in part, by Cathy Berberian), transform "Back to the Past #4" to a new level, and while the vocals add color, they are somewhat divorced from context and their appeal is likely to be less than universal. The final "Back to the Past #5" starts out strong with Centazzo's commanding presence, but later softens, exploding from time to time — but it is never lightweight, even if it is not totally convincing.