Sympathy for the Devil?
Abdel Hamed Mowhoush fell for a lie, and it cost him his life: being a major general in the Iraqi army under Saddam Hussein in 2003 didn’t help. According to Human Rights First, Mowhoush’s four sons were taken prisoner by US forces. Assured that he and his children would be released if he turned himself in, Mowhoush did so. But rather than being let go, he was brutally tortured and subsequently murdered by an interrogator, Lewis Welshofer, who was courtmartialed and along with a few of his fellow soldiers, given a slap on the wrist for his role in the events. This killing raises all sorts of questions, from why the murder was committed – or sanctioned – in the first place, to whether or not such acts are ever justifiable. Seattle saxophonist Neil Welch addresses the incident with a chillingly and rather brilliantly orchestrated tone poem of sorts, Sleeper, out now on Seattle’s Table and Chairs Music.
Welch’s point of view here is clear. “May the darkest, most difficult moments of our lives be met with love instead of hate, compassion instead of rage,” reads the epigram on the album sleeve. As you would expect, this is a somber and intense piece of music, played sensitively but acerbically by Welch along with Ivan Arteaga on alto and soprano saxes, Jesse Canterbury on bass clarinet, Vincent LaBelle on trombone and David Balatero and Natalie Hall on cellos. It begins ambient and elegaic in the manner of a salute delivered by slowly shifting sheets of sound from which harmonies slowly begin to develop, as if in a flashback. Martial allusions bustle and reach anguished peaks, then recede: much of this has echoes of Stravinsky. Fullscale horror is kept under restraint here, to crushingly powerful effect. A menacing harangue, a possible good cop/bad cop interlude and furtively official-sounding scurrying eventually cede to atmospheric horror bleeding with microtones. When a more cohesive martial theme appears, it quickly takes on a cold blitheness. Figures dart around like extras shuffling around the set of an early black-and-white film. Ending on much the same note as it began, it makes a potent follow-up to Welch’s Bad Luck collaboration with drummer Chris Icasiano. That one rated in the top 25 jazz albums of the year here last year: this could easily do as well.
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