Ches Smith - The Self

The Free Jazz Collective 0

By Don Phipps

What makes Ches Smith special? Is it his musicality – the trap set as symphony? Is it his incredible multi-instrumental talent (on The Self  he plays drums, vibraphone, timpani, glockenspiel, chimes, tam-tam, and small percussion)? Or is it his ability to use these instruments to craft free form music that conveys complex feelings and thoughts?

The Self  highlights Smith’s abilities to bring it. There’s the ac/dc approach on vibraphone on “The Problem,” which alternates between dreaminess and energy. There’s the funk of “Stems From,” where Smith uses the glockenspiel to create a rotating motif wrapped by syncopated snare and bass drum. Or for those who prefer flashy drumming, there’s the wonderful “In Two” and “Light Spirits,” with cascading snare rolls and cymbals juxtaposed against bass drum pedal syncopation, or the beautiful tom tom beats on “Freely Stated,” where the strokes are hard and fast but the sound produced flows and rolls. And his free form brush work on “Subtly” is not to be missed.

Or check out his use of the vibraphone and chimes on “Vertiginous Question,” which turns ethereal and blends with what almost sounds like electronics at play. Or the fascinating use of the glockenspiel to suggest a clear night of twinkling stars on “Constellation View.” Perhaps the masterpiece of the album is “Empty Individual.” Not only does this composition demonstrate Smith’s endearing musical all over drumming, replete with bass drum pedal work that startles and impresses, but to this he adds the glockenspiel for just a couple of precise notes in the middle of his drumming escapades! The music continues to roll about in a fine rage, with some sudden explosions and incredible cymbal and gong play, elements that slip in an out of the tune like changing lanes on a speedy highway.

The important thing with The Self  is that Smith makes it happen – from trampoline bounces to adventurous safari rhythms (“Get Out There And See”). Finally, one would be remiss not to comment on his use of the bells (or chimes as he refers to it). “Menm Bagay La” illustrates this perfectly, where he recreates the sound of chimes blowing in the breeze.

Smith, who in 2025 has participated on Myra Melford’s excellent Splash, Clone Row where reviewer Aloysius Ventham wrote “I suspect it will be my album of the year”, and John Zorn’s Impromptus, is covering the bases. The Self shows that he continues to develop and expand and it’s exciting to hear his expanding artistry. Enjoy!