edited by Vladimir Bogdanov, Chris Woodstra, Stephen Thomas Erlewine
Thomas Chapin
d. Feb. 16, 1998, Providence, R
Sax (alto). Flute / Avant-Garde jazz, Free Jazz, Post-Bop, Modern Creative
Pages 215-216
The death of Thomas Chapin from leukemia at age 40 was one of those very cruel twists of fate that periodically mark the history of jazz. Unlike the many fine players to die of self-abuse before their time – Charlie Parker and Bix Beiderbecke come to mind – Chapin lived what was, by all accounts, an exemplary life. The fact that he was stricken in his late thirties by a disease that usually targets children is nearly inexplicable as it is tragic. Fortunately, Chapin left behind an artistically significant and reasonably large body of work. Alto sax and flute were Chapin’s principal instruments. He played alto with a huge, golden sound that sounded as if it had been burnished with fine-grained sandpaper. On flute, he had an edgy, near-classical sound that cut through his energetic rhythm sections like a knitting needle through pudding. Chapin was first attracted to jazz through the work of Earl Bostic and Rahsaan Roland Kirk. He attended college at Rutgers, where he studied with tenor saxophonist Paul Jeffrey and pianist Kenny Barron. After graduating, he then studied with alto saxophonist Jackie McLean at Connecticut’s Hartt College of Music. In 1981, he went on the road with vibist Lionel Hampton’s big band. He served Hampton for five years as lead alto and musical director. When the downtown New York club the Knitting Factory opened in 1986, Chapin was one of its first acts. When the club started its own record label, Knitting Factory Works, Chapin was the first artist signed. He formed a trio with bassist Mario Pavone and drummer Steve Johns in 1989. That outfit, with Michael Sarin replacing Johns, would form the core of his most adventurous projects until he died. At the end of his life in early 1998, he was just beginning to receive attention outside the realm of experimental jazz. Indeed, had he lived, it’s not inconceivable that Chapin’s amalgam of freedom and discipline might have become a force in the jazz mainstream. – Chris Kelsey
Third Force / Nov. 3, 1990-Jan. 19, 1991 / Enemy♦♦♦
Alive / Nov. 3, 1990-Jul. 1996 / Knitting Factory♦♦♦♦♦
Anima / Oct. 22, 1991-Dec. 1991 / Knitting Factory♦♦♦♦
Inversions / Mar. 30, 1992 / Mu Works♦♦♦♦
Nightbird Song / Aug. 28, 1992+Sept. 29, 1992 / Knitting Factory♦♦♦♦
Recorded in 1992, Night Bird Song remained in the can for seven years before Knitting Factory released it in 1999. Thomas Chapin had met an untimely death from leukemia in February 1998(he was only 40), and this posthumous release was greeted with great enthusiasm by those who were hip to the saxman/flutist’s music. It’s regrettable that this avante-garde/post-bop recording went unreleased for so long, for Chapin’s trio (which included bassist Mario Pavone and drummer Michael Sarin) is inspired, unpredictable, and cohesive throughout the album. Sticking to his own compositions, Chapin favors an inside/outside approach and fluctuates between moments of quiet, AACM-influenced reflection and intensely emotional playing.
Chapin’s pieces tend to be cerebral and angular and don’t go out their way to be accessible, but they’re well worth exploring because the expressive improviser had a lot to say. Whether he’s playing the alto sax, sopranino sax, flute or alto flute, Chapin’s restless spirit serves him well throughout Nightbird Song. – Alex Henderson
Insomnia / Dec. 1992 / Knitting Factory♦♦♦♦♦
Thomas Chapin, who had fairly distinctive tones on alto and flute, is a versatile improviser capable of playing anything from swing to free jazz. His regular trio (with bassist Mario Pavone and drummer Michael Sarin) is joined by a brass quintet (two trumpets, two trombones and the tuba of Marcus Rojas) for a set of adventurous and unpredictable but generally very logical improvisations, often building off simple ideas. Well worth a few close listens. – Scott Yanow
I’ve Got Your Number / Jan. 11, 1993 / Arabesque♦♦♦♦
Although this essentially a modern bop session, it is obvious that altoist Thomas Chapin was open to more explorative music. Chapin and his quintet (with pianist Ronnie Matthews) interpret three lesser-known standards and five of his own diverse originals. Chapin’s tone at times recall aspects of Phil Woods and Jackie McLean but is largely original, and his style is a bit unpredictable. He also takes inventive flute solos on two pieces (including Bud Powell;s “Time Waits”). The overall results are quite pleasing and often exciting within the modern mainstream of jazz. – Scott Yanow
Menagerie Dreams / Jul. 1994 / Knitting Factory♦♦♦
You Don’t Know Me / Aug. 23 1994+Aug. 24,1994 / Arabesque♦♦♦♦
Throughout this well-rounded CD, Thomas Chapin (who switches between alto, soprano and flute) is in superb form, whether doing a humorous impression of Eric Dolphy on “Izzit.” featuring his flute on “Namibian Sunset.” jamming on the chord changes of “Goodbye” (which is usually taken much slower) or putting plenty of feeling into the blues ballad “You Don’t Know Me”. Trumpeter Tom Harrell helps out on a few selections and pianist Peter Madsen has some outstanding solos but the album is recommended primarily for the exuberant and consistently creative playing of Chapin, a rapidly emerging talent who deserves much more recognition. – Scott Yanow
Haywire / Jan. 24, 1996+Jan.27, 1996 / Knitting Factory♦♦♦
Sky Piece / 1997 / Knitting Factory♦♦♦
Recorded a little over a year and a half before his untimely death at 40. Sky Piece is arguably Thomas Chapin’s best work and a fine example of both his instrumental facility and his strong musical conception. Nominally associated with avant-garde, Chapin actually tends to be relatively traditional and decidedly melodic player. The title piece here, with Chapin on bass flute, is a gorgeous, melancholy composition reminiscent of Norris Turney with Duke Ellington that few listeners could remain unaffected by. One is also reminded of the sound of Henry Threadgill and Air in both the deep melodic content as well as the liberties taken with it. On the album’s best pieces, including “Night Bird Song” – again with Chapin on flute as well as simultaneous alto and sopranino saxophones – and “Changes 2 Tyres,” one hears some of best post-AACM trio work on record; nothing contained herein is less than solid. Bassist Mario Pavone, a stalwart of several. Anthony Braxton ensembles, provides supple and imaginative support throughout. Sky Piece might be the best introduction to Chapin’s music and will be enjoyed in general by admirers of the more traditional wing of the ‘70s avant-garde such as Arthur Blythe. Recommended. – Brian Olewnick