It has been over a decade since The Thing formed, assimilating the combined talents of Mats Gustafsson, Ingebrigt Håker Flaten, and Paal Nilssen-Love. They were named not after the John Carpenter horror film, but instead after a Don Cherry composition of the same name. They made an immediate impact with their self-titled debut album of Don Cherry covers, with the rhythm section of Håker Flaten on bass and Nilssen-Love on drums showing themselves to be one of the tightest units out there, and Gustafsson taking extended saxophone technique and then extending it some more. Eagle-Eye Cherry commented on hearing this early work that it was what his father would have called “organic music”; and The Thing have grown and mutated ever since, taking on new musical forms.
It is this eagerness to change and develop, a reluctance to stand still, that they draw on most heavily from the forward-thinking Cherry. While Cherry sought inspiration from Indian, Asian and Middle-eastern forms, experimenting with percussion and keyboards as well as his more usual trumpet, The Thing looked to make connections between the free jazz of the 60s and 70s and punk and experimental rock. Aside from the likes of Cherry, Ornette Coleman, Frank Lowe, and Albert Ayler, they have covered PJ Harvey, The White Stripes, the Yeah Yeah Yeahs and The Ex, and have employed Steve Albini to record some of their rawer releases. Gustafsson even featured on electronics (along with Merzbow) on Sonic Youth’s finest release of recent years, SYR8, recorded in 2005.
In parallel to their involvement with Peter Brotzmann’s tentet, The Thing have moved from more composed material to complete free improvisation over the years. As they have pressed on, they have moved into ever more experimental fields, their album tracks becoming longer and more freeform, their intuitive improv chops and technical skills becoming ever more impressive (even when not using electronics, Gustafsson pushes the possibilities of the saxophone beyond all known limits). They have continued to exploit huge dynamic contrasts, from ferocious free blowing to (often overlooked) more subtle and textural interplay. Given their range, both musically and dynamically, and the high-wire skill and connectivity they demonstrate, it takes a special kind of guitarist to stand toe to toe (to toe to toe) with them.
These two newest releases (on their usual home Smalltown Superjazzz) document two such meetings, from successive visits to Japan’s Shinjuku Pit Inn in 2007 and 2008. Here they tapped into some local knowledge, in the form of Tokyo residents Jim O’Rourke and Otomo Yoshihide. Given the use of guitarists, and the date of these recordings, in a sense they represent The Thing in transition: halfway between the rock influences of old and the freedoms of today. But in another sense they feel pivotal, as if these pairings somehow unlocked something, maybe convinced them of the true path to follow. For O’Rourke and Yoshihide are much more than guitarists, both are multi-instrumentalists, improvisers, innovators and collaborators of some regard.
O’Rourke of course is quite the polymath, an artist whose solo career has taken in guitar and modular synth experimentation as well as his Nic Roeg-referencing song-based alt rock. His relationship with Gustafsson goes as far back as the 1990s, when both were based on the Chicago improv scene. Despite this familiarity, Shinjuku Growl begins somewhat tentatively on “If Not Ecstatic, We Replay”. Nilssen-Love can be heard scrambling around with chains and bells, while Håker Flaten’s bass emits huge groans. It takes less than ten minutes, however, for this subtlety to be abandoned, the initially hushed conversation between Gustafsson and O’Rourke developing into a high-pitched and suitably ecstatic screaming session (no replay needed). When the saxophonist finally takes a breather, O’Rourke shreds silver into the tumbling rhythms, long streaks of white light dancing over the rippling surface. In contrast, “I Can’t, My Mouth Is Already Full” is in essence the growl of the album’s title, some incredible split note-cum-moans from Gustafsson being met with pulsing feedback and scraped cymbals. The meatiest cut is “Half A Dog Can’t Even Take A Shit”, in which the quartet get into a staggering, lurching entanglement: the real joy is not what with the bass and drums brilliantly picking out and echoing patterns from the front line.
Otomo Yoshihide’s biography is similar to O’Rourke’s in its bewildering diversity: from improv with Derek Bailey to house music via the rock of his Ground Zero group and the straighter edges of the New Jazz Ensemble. However, the differences quickly become apparent. While Shinjuku Crawl begins in a similar manner to its sister release, it feels less visceral, more cerebral. Whispered bass, breathy sax and faint clicks of percussion are quickly driven up to something faster by Nilsen-Love, like an Olympic cyclist pedalling a fixed gear bike from a standing start. In a sign of what is to come, Yoshihide is, initially at least, content just to add colour, dropping notes into the few remaining empty spaces, before he too eventually dances on the pedals. Yoshihide has always had that duality to his playing: the noise balanced by a more minimal style, and both are demonstrated in this set. On “Uramodo (Thank You Mr Fukuoka)” he is a mere ghost, with only sparse traces of feedback giving away his presence. When he does go into full-on Sharrock mode, as on “Third Attempt” and “Dori Dugout pt1”, it feels like as he comes closer than O’Rourke to matching Gustafsson for technique, as well as just volume. It sounds like he was a more awkward addition to The Thing’s lineup, one which would certainly have challenged them, and one which perhaps even gave them food for thought as to their future musical evolution.