Jack DeJohnette
The Elephant Sleeps But Still Remembers
2006 - Golden Beams Productions (Jack DeJohnette\'s Independent Record Label) 
https://goldenbeams.net/

* Jack DeJohnette: drums, percussion, vocals, piano
* Bill Frisell: guitar, banjo
* Ben Surman: additional percussion

Recorded live in October 2001 at The Earshot Festival in Seattle.

Review
~~~~~~ 
https://www.allmusic.com/cg/amg.dll?p=amg&sql=10:a9fyxqrdldke
by Thom Jurek

This collaboration between drummer, pianist, and composer Jack DeJohnette and
guitarist Bill Frisell, was recorded live at the Earshot Festival in 2001. But
it doesn\'t end there. The pair, who had only played together once before on Don
Byron\'s Romance with the Unseen, had a chance to listen to the tapes together
and decided to add some additional production to the tracks. DeJohnette called
in sound engineer Ben Surman, who added \"additional production\": basslines,
ambient sounds, and other electronics and percussion. If you are raising your
eyebrows in doubt, think again. One listen to the title track that opens the
album should convince you otherwise. Here, a simple blues-like figure becomes a
riff that the pair build upon, turn inside out, and make into a labyrinthine
journey. Surman\'s added basslines root the proceedings deeper into the
groove. His ambient and electronic sounds are far from distracting. They are
more painterly, unobtrusive and yet colorful. Frisell and DeJohnette are such
fine listeners and intuitive players that they anticipate one another without
ever going over the line that makes free improvisation wankery. The art of the
duo comes down to one concept ultimately, and that is true collaboration;
musically the pair travel someplace different from where they began. Surman\'s
added touch is a grounding exercise for the listener. And it\'s true it might
have been a different recording if it had only been heard as an un-retouched
performance. But in a sense, it is. It\'s here, mistakes and all, and it\'s far
from covered. It\'s merely colored a bit. The electronic percussion that leads
off \"Entranced Androids\" is actually coming from Frisell\'s guitar. Its
seven-and-a-half minutes are a strange and terrible wonder of musical language
pushed to the edge. DeJohnette\'s rim-shot percussion keeps it somehow grounded,
but he\'s traveling, too -- Surman\'s post-production work brings out the true
weirdness of Frisell\'s riffing. There are some truly, outrageously out moments
here, too, in the brief \"Cat and Mouse,\" \"Otherworldly Dervishes,\" where Frisell
plays a free-music banjo, and the sheer soundscape weirdness that is \"Through
the Warphole\" are examples. They seem to be every other track. The edgy funk on
\"Storm Clouds and Mist,\" touches on blues, jazz, rock and deep funk. Frisell\'s
response other rhythms being offered him are tough, lean, and fluid. The dub
effects by Surman are tasty. DeJohnette plays piano on \"Cartune Riots,\" and
Frisell stays all but hidden until halfway through the cut. DeJohnette\'s pianism
is lyrical, quirky, and deeply rooted in the lower-middle register. The duo
really cut loose on \"Ode to South Africa,\" which has Frisell quoting Dudu
Pukwana, Johnny Dyani, and Abdullah Ibrahim, as DeJohnette\'s drumming rolls
around in stretched time. Surman\'s added touch of vocals and regional percussion
instruments makes the cut sing. The set ends with a reading of John Coltrane\'s
\"After the Rain,\" with DeJohnette once again on piano. Its balladic structure is
preserved, and the space and silence that enter between the lyric phrases allow
for Frisell and his digital delay to shape, color, and texturize its gorgeous
melody. This is one of those records for the fan who has to have everything, but
that said; it is thoroughly enjoyable on its own merit. Highly recommended.

En castellano (crítica menos apasionada y, probablemente, más realista): 
https://www.elintruso.com/article.php?id=553