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about this album
David S. Ware's debut album on Columbia Records proper (Columbia had licensed an earlier title from DIW) is perhaps the most "accessible" of his career thus far, which doesn't mean to insinuate it's smooth jazz or anything that resembles the music of Wynton Marsalis, either. This is out jazz, but it's not necessarily free jazz. The tunes Ware and his truly amazing band — Susie Ibarra, drums; William Parker, bass; Matthew Shipp, piano — have constructed for this date are elaborate studies in tonality, harmonic invention, and reconstructions of melodic identity as it presents itself in the jazz idiom. According to guitarist and frequent Ware and Shipp collaborator, Ware uses music to mark time, its passage, and significance as a creative element in and of itself. Go See the World takes to the challenge head-on. From the opening moments of Ware's bleating dissonance on "Mikuro's Blues," where he and Ibarra call into question the very invention of dynamic interplay — held down on earth by Shipp's steady, shape-shifting modal chords and Parker's dancing bassline that always seems to know where it is no matter where the fire is — and look to lift each other up with tempo changes, color shifts, timbral variations, and an all out attack on the tune's theme. On "Logistic," Shipp and Parker go toe to toe in an improvised workout that has them trading places in the rhythm section as Ibarra attempts to further their discussion in triple time. Ware takes the tune out with three trills tha
