The West Coast trombone genius continues his odyssey of exploring the trombone/bass/drums format, with delightful results. This time the tritet is filled out with Chris Lee on drums and Ken McLagen on drums, and between the three of them, the listening is really incredible. Three3 was recorded live in Denver in 2007, although any crowd noise has been edited out. As with any trio, of paramount importance is variety of texture, which the tritet achieves with seemingly no effort. Vlatkovich gives his comrades plenty of space, and while everything stays essentially tonal and lyrical, even when they actually head into swing territory, like on “Neighborhood Beasts Let Their Hair Down,” the approach is pretty free.

Perhaps the most stunning thing is that Vlatkovich is as nimble on the instrument as he is. Trombone, of course, has some famous jazz exponents, but for some reason retains the reputation of a somewhat clunky beast to improvise on. Vlatkovich puts those issues to rest in a very conclusive way. Not that he's trying to be Dizzy Gillespie, but you get the sense that he could blaze up the scales if he wanted to. His muse leads him into more reserved music, however, and he writes tunes that mirror his improvisational goals, frequently building off ostinatos before opening up into spacious improv sections.

McLagen and Lee are simultaneously supportive of the leader's thought processes as well as pushing their own ideas out into the music. Truly, they are the rhythm section everyone wishes they could have, with their elasticity, sense of dynamics and playfulness. They reflect Vlatkovich's good vibe: Three3 could definitely be defined as feel-good music, and how often can you say that about music from the so-called creative music community?

Ever since he formed ThankYou records in 1982, Vlatkovich has consistently pursued whatever project inspired him at the time, ranging from large ensembles to a duo with tuba to a myriad of trombone-poetry dialogues. Lately, however, the pattern of his interest in the tritet has become more clear, and if you compare this recording to his others in this format, it becomes apparent how different each recording is. Aside from the fact that he employs different rhythm sections on each outing, he also seems to focus on an over-arching theme for the tritet to elaborate on, even if it's hard to articulate exactly what that is. Despite even repeating a track from his Origin tritet disc Queen Dynamo (“The Length of the Tail...”), the feeling is quite different.

Vlatkovich is one of those guys who's been around a long time, and yet flies under the radar of most jazz heads. It's unconscionable! This is easily one of the best albums this year.

Reviewed by: Tom Chandler

This Trio Cd marks the third recording utilizing this specific instrumentation. "No Zee Two Es" Thankyou Records was the first and it featured Chris Garcia-drums and Anders Swanson-bass. "Queen Dynamo" Origin Records was the second and featured Ken Ollis-drums and Jonas Tauber-bass.  Each of these Cd's is different not only because of the musicians and compositions, but also because of the performanceapproach/concept. In each, we explored the roles each performer takes in such an ensemble. On each Cd, shifting roles were employed with specific emphasis on certain strategies. The other notable

difference is that this Cd was taken from a live performance. The others were studio recordings.

"You might even call this one Anthony Braxton meets Philip Dick meets Gregory Corso... There's something about Charles Morrison Britt. Whether or I not you enjoy his straightforward poetry and gruff and gravely speaking voice, you cannot deny his powerful presence. "Steven Loewy © Cadence Magazine 2008

"Absolutely amazing compositions in a truly timeless unique style. Book III is truly a classic! It's great to hear musicians who keep the integrity to their own voice."Bruno & Peggy Kicks, Extreme Radio, Radio Centraal (Antwerp, Belgium)

"Book III selected among the top 15 CDs of the first half of 2008. Best regards, Francois Couture", Reviewer, journalist, producer of Delire Musical/Delire Actuel (CFLX)

"Give these chaps an opportunity: although not really devising anything new, they just sound gorgeous." Massimo Ricci, Rome, Italy

Take a trio in the best beat- poetry tradition, - a storyteller, a jazz trombonist and a drummer -- with all of its promise of interaction, communication and “in the moment” interplay...
Now expand it -- more players, more voices; broader drama, wilder expressions; while losing none of its spirit and spontaneity and you have Transvalue -- an ongoing exploration of the inner depths of human interaction and the outer reaches of jazz... and where both come together as one.

Since 1980 under the name, TRANSVALUE, trombonist/composer Michael Vlatkovich has been, with his unique brand of improvisationally-friendly compositions, creating musical settings to support, surround and interact with the writings and vocal performances of spoken word artist Chuck Britt. The third integral component of this repertory company has been drummer/percussionist, David Crigger. His role as recording engineer/mixer has grown beyond mere capturing of performances to include editing, shaping and extending those performances to match Transvalue’s current vision of itself. Transvalue has now grown into a repertory company of experimental jazz artists with the instrumentation varying with the needs of the material.

Rob Blakeslee, tpt, flgl; Michael Vlatkovich, trb and claps; William Roper, tuba, conch, voice, wine glasses, gong; Brad Dutz, a lot of percussion.

What a formidable lineup. Each a solid leader in their own right, as an ensemble they improvise as a unit: What could have been a session to see who could outblow the other, instead becomes a delightful study in interplay. From the opening squeeks and slapped mouthpieces to the closing concertina with brass counterpoint, this is a collection of great improvs that will bear repeated listenings. Birdcalls, trumpeting tuba, harmon (plunger?) trombone, fluttering trumpet interrupted by splashes of percussion, trombone quoting Gershwin behind a groove of shakers·and that is just one track (Ice Flow)·

"There are exciting moments throughout this release and some highly creative moments, including the interactive lines of the individual members of the trio, whether improvised or preconceived.” Steven A. Loewy, Cadence, July 2000

"...no one lets down... this must have been an absolute gas to hear live." David Dupont, Cadence, April 2000

No.8 in Kirk Silsbee's Favorite Local Jazz Albums of 1999. LA New Times

"This disc is surely to be on my top ten releases of the year.” Mark Corroto, August 01, 2000

"...Why Don't You See Me? with its blustery, swaggering and bluesy Mingus-like rag-tag amalgam of structure (including interesting support material for the soloists) and open-ended improvisation, is of even greater import. Boyed by periodic rock rhythm underpinning which, amaxingly enough, avoids any concession to fusion or pop, and odd striking percussion textures, it;s a sprawlingm spirited free-wheeling set." Cadence, Vol 19 No 9

"Michael's hyper-textured compositions create a direct, exciting spatial relationship with the words of poet Chuck Britt. Chuck's narrative voice punctures the boundaries of jazz... frilly trombones to circus -like mayhem sounds trace the path led by Checks bellowing-whispering-lamenting vocalizing. His throaty words range from embraceably morbid to soft and angelic." Its depth is graphic.LOOKING AHEAD (COASTAL JAZZ AND BLUES SOCIETY, VANVOUVER, BC)

Unbridled joy in play is the distinguishing characteristic of Transvalue, a delight full of changes and surprises for the audience. Wiesbaden Tagblatt, May 15, 1989

"Vlatkovich does and impressive job of matching the sound with the moods of the words. Britt’s impressions try to be the agent of catharsis and the listener can be (if in the proper frame of mind) moved by their violence and strange beauty." CADENCE

"Britt writes simultaneously ridiculous/sublime prose and complements his angst-laden but passionate delivery with a backing crew of stellar musicians." RICHIE UNTERBERGER - OPTION

"If you free associate a little, this session might remind you of the meeting of jazz and poetry in murky, big city cellars during the days of the "beat generation." The sources of stimulus and the subjects may have changed, but this current incarnation of the genre is still socially aware at its core." OTTAWA CITIZEN

"The music is quite stimulating and it makes one wish for another Vlatkovich record. Charles Britt sounds like he had fun doing the LP - you should have as much fun listening." RICHARD KAMINS - CADENCE

Mike and Chuck are interviewed here by Thomas Peake for WREK, Georgia Tech. Radio, Summer 1989 (Transcript)

Collaboration number two for Vlatkovich, Britt and Crigger. Poems and music performed from up and down the west coast and in Germany from 1985 throuugh 1989.

Everyday (or almost everyday) something is going on around Los Angeles, but once in a while something great goes on there.  Something like this blend (encounter), something like this existential poetry evocative of the furies of Bukowski, melting with the pure tones of the trombonist and his musician friends.  If you want to impress the current person in your life heree is “the” recording to give.  J. Yves Picoron, Presse-Ocean, Nantes, France

“I play it a lot!  Will definitely play it on upcoming special.  #60 is the “Best Rap Song” of the August /September sweeps in Atlanta.” PATRICK DOWDEY – WREK, ATLANTA

"I played composition #43 on Dec 2.  I like the album.  It is certainly a performance work.  You’ve got a great voice!  Tom Waits meets Captain Beefheart.  Works great with the music.  What a contrast!  It’s wacky and eccentric. I Like the music too!  I like it best when tough, funky and funny.  I love the trombone!!" JACKI APPLE - HIGH PERFORMANCE:

"Each is an outstanding player deserving of wide critical and popular acclaim, together this unit burns."LA READER

...this Britt guy is out there, growlin' and shoutin' fairly unfathomable impressionistic (though not unhumorous) images of sex, morality and transcendence... OPTION MAGAZINE

"Like his other albums, Vlatkovich lets us know on 9113 that there are a lot of different musics in him and they're just about all worth hearing. Like a good compilation record, this one will keep drawing you back and exposing more facets.” Kirk SiIsbee, LA Reader, February 7, 1986

"An interesting and frequently enjoyable record.”Owen Cordie, Raleigh News and Observer, March 9, 1986

"It is very original free compositions, brilliantly conceived and strongly executed." "Good stuff that gets gooder and gooder." Cadence, January 1982

"1982 Editor's Choiice, New Releases" Bob Rusch

"Trombonist and composer Michael Pierre Vlatkovich has been successful in fashioning some unique charts that not only challenge his able sidemen, but also the ability of the listener to determine what is written and what is improvised."Gerard Gutric, Coda Magazine

Michael's first release.

Please note the wonderful graphic art by David Riddles.