In jazz, no piano, no guitar and no bass means no chords. And as Ornette Coleman shouted at the world, no chords = freedom. Without chords to guide a tune, it can logically go just about anywhere at any given time. For the improvising soloist, this means increased possibilities. For the novice listener, it can mean serious confusion. No chords can leave you asking, "Where are the freakin' tunes, man?"

This record of duets between tenor saxophonist Fred Anderson (who was a founding member of the pioneering avant-garde collective AACM) and drummer Robert Barry (a long-time member of Sun Ra's Arkestra) reminded me that jazz without chords requires a different kind of listening. Some chordless music focuses on texture, as with late 60's free jazz. Part of the thrill in Coltrane's Interstellar Space comes from the sheer force of sound from the man's horn. But Duets 2001 has little overblowing, no shrieks, and no cries.

What Duets 2001 does have is loads of interaction between Barry and Anderson, and this is the most pleasurable thing to listen for here. These two guys get together to play at the Empty Bottle in Chicago (where this set was recorded) approximately once a year. And they're certainly not playing standards here, so it's safe to assume that they're improvising from scratch. What's needed in such a situation is empathy, and it's palpable on this set.

The show begins with "Bouncing," a swinging piece with a marked blues flavor that calls to mind the melody of Coltrane's "Blue Train." It's interesting when listening to this track to think of both instruments as equals. Switch your attention from the sax to the drums and back again, and try to picture who's driving the piece at any given time. As Anderson picks up the tempo and begins inserting notes, Barry will respond with cymbal splashes and punctuating kicks. Likewise, both sense the time to pull back and leave space. The synergy on this track is a wonder, and easy to listen for as the piece chugs along on such an appealing groove.

The aptly named "Speed Way" gives Anderson a chance to display his considerable chops at a breakneck pace. His tone on this piece is rough and a little harsh as he navigates the difficult scales and Barry solidly anchors. Barry's intricate rimwork on "Taps" gives the piece a Caribbean feel, and offers evidence of his years with the Arkestra. Anderson takes on a percussive role with his horn, allowing the piece to become an exercise in pure, sensual rhythm.

"We" is the freest piece here, with Anderson's melody following a cryptic internal logic and Barry responding with hesitant, stop/start beats that are nonetheless still tied to meter. And "Dark Day" closes this great set with another fine, expressive blues. For a one-off jam, this record is fantastic, and one can only hope this collaboration continues. Once a year may be fine for family reunions, but these two should really get together more often.

-Mark Richard-San