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Since 1989, the ensemble has recorded four times, the previous CD being “7 In One” issued by FMRJE Music in 1998. The title of the new album, Horizon Event, refers to the characteristics of black holes where gravitational forces pull in everything within its proximity. The quintet’s hypnotic music has a similar power. Free-form jazz fans welcome this release.

Over the years this group has been a launching pad for such luminaries as trumpeter Raphe Malik and guitarist, Tor Snyder. The leader will never compromise his vision of the music and the ensemble remains true to its intentions. Now associated with a revolutionary jazz label, Drimala Records, the FMRJE is ready to capture a new generation of devotees.

Jazz Review

Richard Bourcier

First constituted under the leadership of drummer Dennis Warren in the late 1980s, the FMRJE has grown and shifted personnel over the years with such outstanding players as saxophonist Glenn Spearman, trumpeter/composer Raphe Malik and guitarist Tor Snyder in the fold. In concept and performance, the FMRJE's closest antecedent would seem to be Sun Ra's multi-faceted Arkestra, and similarly, over the years, it has released self-produced sessions. Yet, the three long jams that make up this disc also recalls times in the 1960s when percussion-heavy aggregations led by the likes of Gary Bartz, Archie Shepp and Pharoah Sanders would appear in concert and perform seemingly endless vamps of molten, intoxicating sound.

Warren, who studied with Black music theorists like trumpeter Bill Dixon and drummer Milford Graves, was around to experience the tail end of that Free Jazz psychedelic epoch. The FMRJE draws on those ideas to produce a gyrating, hypnotic sound, which as he says "demonstrates our ancient roots and our future communications, swirling through our biochemical spheres and igniting our souls for the hope of love in humanity."

These sentiments aside, the most remarkable circumstance about the FMRJE on this, its first release in four years, is how few members it has. Besides Warren on drums and timbales, the massive, surging output is created by only four other musicians: Jose M. Arroyo on congas and percussion; Chris Florio on guitar and electronics; Albey Balgochian on electrified stand-up bass; and the over-the-top saxophone lines of Andy Voelker.

Balgochian, who has also played in drummer Jackson Krall's Secret Music Society and is a veteran R&B, blues and reggae performer, has been with the band since 1997. The idea of every one of the tunes here, is for him and Arroyo, who has been a Full Metaler for about two years, to combine with Warren to create a resolute pulse over which Voelker's harsh, overblown notes explode and Florio's flailing, repetitive adornments soar. Although there are brief solos, no one member ever creates in isolation. So, for instance, if the guitarist explores some high-pitched, neo-acid-jazz fingering, he's shadowed by the bassist's constant rolling motion and Warren exercising all parts of his kit.

Voice samples from Martin Luther King Jr., a choir, and someone who sounds suspiciously like LSD guru Timothy Leary, appear on a couple of tracks among the electronic wiggles, guitar freak-outs and dense rhythms, giving the session even more of a 1960s feel. Also, with what band members describe as a total commitment to the maximum possibility of sound, there's very little breathing room here. It's sort of taking both "Ascension" and "A Love Supreme" on step further at the same time. At times, in fact, you begin to feel as if you're hearing one of those legendary all-night blowouts in which half Energy jazz/half heavy metal pioneers like guitarist Sonny Sharrock, an avowed FMRJE icon, participated.

With one of the tunes almost hitting the 34 minute mark and the other two not that much shorter, this disc, which is only available from www.drimala.com will no doubt appeal to those who miss the 1960s and music that was experienced as a communal, quasi-religious, cleansing experience. There's no doubting the sincerity of Warren and the FMRJEers. However whether such naïve art can co-exist in the cynical 21st century is another question. Decide for yourself.

Jazz Weekly

Ken Waxman

More than ever before, the FMRJE has incorporated the free-funk ideologies of Miles Davis and Ornette Coleman's working bands of the 1970s. However, the virtual percussion troupe formed by the confluence of Warren and Jose Arroyo keeps the group far less rhythmically confined than even Agharta / Pangaea era Miles. Electric bassist Albey Balgochian has a proclivity for keeping the bottom end a little too busy, but he aligns himself well enough with Warren's rapid-fire drumming to fuel the band upward and outward. Similarly, saxophonist Andy Voelker may not be a player on par with past FMRJE-ers Malik or Marco Eneidi, but he fills the horn chair with youthful vigor and passionate sensitivity. But it's guitarist Chris Florio that appears to be the glue that holds everything together over the course of these three live recordings - be it the Harmolodic riff that submerges and resurfaces throughout "Event 120401A," the spacious, jazzy chords that offer airy counterpoint to the rest of the group's frenzied blowing at the beginning of "Event 120401B," or the searing display of zealous geometry that kicks "Event 012202" into final gear. As an ensemble though, this version of the FMRJE functions as collectively as any of its predecessors - instead of a succession of windy solos, the music morphs together to form layers of intrigue for the duration of these lengthy improvisations.

Even if at certain points of this disc Warren and company come off as not being able to choose between freedom and groove, there's no reason they should have to. While they may have moved on from the more strict jazz trappings of their earlier work, the FMRJE is extending the tradition of some of the most exciting, genre-bending bands in the music's history.

One Final Note
Summer/Fall 2002

Scott Hreha

The current line-up of his FMRJE features Andy Voelker on alto sax and Chris Florio on guitar and electronics, along with old FMRJE hands Albey Balgochian (since 1997) on bass and Jose Arroyo on congas and percussion, and Horizon Event documents their appearance at Skybar in Somerville MA in December 2001 and January 2002 (FMRJE enthusiasts may like to know several jams are available for downloading at fmrje.com).

Live recordings are, as we all know, often more exciting than studio dates (the highs here are genuinely thrilling), but also run the risk of getting bogged down, even lost. With Dennis Warren behind the kit the band can usually steer itself out of tight spots with breathtaking results, but things are not always totally convincing: Florio's synth doodling and Martin Luther King samples (no prizes for guessing from which speech) near the end of "Event 120401A" sound a bit tired until Warren and Arroyo return to the attack and manage to conclude proceedings with conviction.

In Arroyo, Warren has a percussion partner who's quite happy to lay down straight African rhythms, leaving Dennis free to explore the outer reaches of his rhythmic universe.  If rhythmic regularity appears, it's welcomed into the music, worked with and then discarded when no longer necessary (case in point, the opening killer groove of "Event 12041A" which self-destructs after barely a minute, and also "Event 120401B" after about six minutes).

Andy Voelker's alto playing, though never quite as incendiary as that of his FMRJE predecessor Glenn Spearman (could it ever be?) reveals a wide knowledge of the instrument and its practitioners, though even he gets a bit stuck toward the end of the second track.

What we're left with is a fascinating sonic space full of contrasting gravitational forces (the black hole cover photograph is quite appropriate) -- pulses, hooks, motives all pull the music this way and that.  It's quite a hike, and even if the view along the trail is often obscured by trees and clouds, the panorama from the mountaintop is well worth the effort.

Signal to Noise
Fall 2002

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Paris Transatlantic

Dan Warburton

There are a few weak points in this recording (some cliches, easy solutions, misunderstandings by guitarist Chris Florio), but the sheer energy of the compositions (we must pay attention to alto saxophone player Andy Voelker) and the strong rhythmic pulse (percussionist Jose Arroyo shares merits with Warren and bass player Albey Balgochian) grab the listener´s attention almost immediately. The name of this band takes us to the years of all revolutions (the 60s and 70s), when this kind of music was politically committed, agitating and intervening. What we are still to find here is whether it represents a memory of old times or a new "hard rain is gonna fall". We are sure much in need of that.

Rui Eduardo Paes

translation by
Eduardo Chagas

The drummer Dennis Warren is a disciple of Milford Graves and has studied with Cecil Taylor. His FMRJE, begun in 1989 has included jazz luminaries Raphe Malik, and Glenn Spearman. The current lineup like all others features an additional percussionist with conga player Jose Arroyo. The rhythm concentrated music is constantly propelling forward. Driving the powerful engine of Warren’s drumming. This is the music born out of the electric Miles Filmore and Agharta years, it is the original jamband concept.

Warren’s prior self-produced FMRJE recordings can be found at his website and his previous label release was Watch Out! for Accurate Records.

Horizon Event is an accurate representation of what the FMRJE music is all about. The quintet sounds more like a large ensemble here filling space with powerful stroke throughout. Alto saxophonist Andy Voelker provides the out-spark throughout with engagingly spirited play.

For his part Warren keeps the motion continuously moving around. His drumming is the stuff riddilin was invented for. But lets not slow him down just yet.

On first listen, you'll want to reserve the full 74 minutes with no interruptions to the flow. Tension/release & build/ebb are a natural part of this kind of music, & you won't want to miss any of the excitement they generate. They did an amazing job with the mix, you can hear each & every nuance, without any stepping on each other. I'm highly impressed... this is one of those classic albums that will stay in the collection for eons! Just GREAT jazz, with unbounded energies... gets a MOST HIGHLY RECOMMENDED from us!