Flat Rat – A Masterclass in Controlled Chaos

Dave Ballou has spent a career cultivating a reputation as a steadfast proponent of boundary-pushing, experimental jazz, both during his years as a successful NYC freelancer and during his current tenure at Towson University, where he has served since 2004 as Professor of Music and Division Leader of the Jazz and Commercial Music Division. He is also founder of the Murray Jazz Residency. His myriad side musician credits intermingled with eight recordings as a leader for the SteepleChase label were a springboard for the numerous independent releases that followed, all to great acclaim.

Flat Rat is the most recent of these albums, recorded with a stellar line-up under the clever moniker, for-tet: Dave Ballou (trumpet, flugelhorn, compositions), John Dierker (bass clarinet), Adam Hopkins (bass), and Mike Kuhl (drums). The album’s origins date to a July 3, 2024 performance by this lineup at the Rhizome in Washington DC. Though the group had performed together before, the synergy from this performance was special, and the collective urgency to record was overwhelming. For this project, they align magnificently to support Ballou’s considerable artistic vision.

Unifying themes of this recording are prominent: the consistent use of motivic ostinato figures to create an anchoring effect, the occasional appearance of a haunting open interval to close a track, strong technical command from all quarters, and a pervasive sense of conversational fluency. Admittedly, much of this music is an acquired taste; it is not “easy listening,” but that very state gives it a sense of depth and artistic integrity that becomes more evident with each repeated listen. All compositions are by Ballou except for “Improv,” which is credited to the ensemble

“Ditty”opens the record with a bang: Kuhl’s aggressive cymbal crash launches a haunting ostinato doubled by Ballou and Dierker. Mid-track upper-register intervallic, angular punctuation showcases Ballou’s formidable command of the trumpet, giving an air of rabid spontaneity before the track sighs to a halt.

“24/Tones” is the heart and soul of the album. The track tells a story. Much like a character arc in film, this take has a track arc, so to speak. I felt like I was pulled on a journey with twists, turns, and surprises every step of the way. It evoked imagery of a being thrust in a Salvador Dali painting, searching for a trinket whose purpose is yet to be revealed. A weird, welcome dream. Ballou and Dierker open the track in rhythmic unison, full of parallel harmonies evolving into contrapuntal bursts, giving a whimsical start-stop quality. Dierker’s low register shines magnificently. As the track progresses, the horns evolve to sustained harmonies to buttress Kuhl’s magnificent mallet work on cymbals and various auxiliary percussion. Hopkins shines throughout, deftly moving from upper-register bowing prowess to providing an anchoring pedal supporting a sustained perfect fifth/octave from Hopkins, Ballou, and Dierker.

The album’s group namesake tune, “for-tet,”opens with a brisk ostinato in rhythmic unison between Ballou and Dierker, before parting ways with Dierker’s sustained tones and Ballou’s free-wheeling improvisations. I loved the element of music risk that showed itself in spades. No safe playing here – this take left nothing on the table, and within seconds, I felt a sense of satisfaction that I was listening to something that was anything but “phoned in.” The return to the opening ostinato evolves to another anchoring open fifth/fourth drone to close out the track. The same anchoring open harmony closes out the following track, “Improv,” whose bulk thrives on conversational cacophony, Ballou’s magnificent long tone timbre variations, and Hopkins’s deft bow work. Melancholy energy pervades throughout, generating a compelling sense of depth.

The following two tracks, “LAF” and “Duo,” also pair nicely together. “LAF,” filled with rhythmic unison motifs between Ballou and Hopkins, evolves to showcase treacherous leaps and intervallic challenges, something at which any brass player can marvel. Dierker’s long tones complement Kuhl’s intensifying aggressive drum and cymbal roll interchanges. “Duo,”despite showcasing so many of the qualities seen throughout the album, also gives Ballou a platform for a warm and rich tone. It makes me intrigued at the idea of him releasing a classical album – I have no doubt it would be outstanding.

The album ends with its namesake “flat rat.” The track evolves with an almost fugue-like quality, with a unison ostinato between Ballou and Dierker progressing to one playing a new figure over top, then reversing roles. Dierker’s rock-solid foundation buttresses Ballou’s seemingly effortless ability to pick high notes out of thin air, with the track ending on a series of repeated, rapid-fire notes in strong unison. It gives a bold exclamation point – a veritable door slam to a powerful record.

Is Flat Rat for everybody? No. But nor does it claim to be. Some jazz is designed for mass appeal, casting a wide net in an effort to attract as large an audience as possible. Other jazz does the opposite, creating a warm space in a niche market. Both approaches make the world a better place. Ballou’s vision, ability to thrive in his niche, and talent for attracting like-minded musicians of the highest caliber is remarkable. There is tremendous artistic purity and integrity in his work. It is beautifully obvious that Ballou – and all of the members of for-tet – love the music they are making. And no matter who the artist is, this is the most important thing of all.  

–by Greg Small

An accomplished pianist, trumpeter, educator, and writer, Greg plays regularly with the Ravita Jazz Ensemble and is featured on their debut recording Jagged Spaces, He has played with many other notable ensembles and has released  Singularity (original solo piano music), 72 Lanterns (original poetry), and How Alfred Won (a novella). Greg is also an active educator. For more information, visit gregsmall.net or follow him on Facebook or Instagram: @gregsmallworld