The association with Moholo might seem surprising at first glance, but it is a happy combination of opposites: the pianist's careful sense of order providing a solid, provocative base for Moholo's fierce, highly directed drumming. The South African is a model improviser, pushing on forcefully with the sort of deceptive intelligence that marked the “Freedom Tour” documented on Boat/Apartheid. The recording is somewhat off-balance: the drums peaking too high and the piano overloading at the top end. Such shortcomings are incidental, though; this is a very worthwhile modern record from an unexpectedly fruitful pairing.
Penguin Guide to Jazz On CD
But the best jazz Thursday night had to be from British pianist John Law and South African drummer Louis Moholo who put in my favourite set so far in Jazz On The Fringe.
Starting with just a minute of Gershwin, the two master musicians proceeded to weave a wondrous round of rhythmic and melodic textures with a gently percolating energy that periodically took off on surprising tangents. Moholo was a marvel of multi-limbed pulses and Law's poetic feel for melody was totally entrancing as he slid into outside tangents. Wow!
Roger Levesque The Edmonton Journal July 1996