I received several tapes from the label Eh? which is a side label of Public Eyesore. I have been familiar with Public Eyesore for a while now and was pleased to check out some of what they were sending my way. This tape is a duo of Patrick Shiroishi & Arturo Ibarra. Patrick Shiroishi is a Free Jazz saxophone player who also performs in several groups. I was not familiar with his work before this release but it does remind me of a bit of John Zorn at times. Arturo Ybarra spelled on this release Arturo Ibarra is also someone I was not familiar with previously, he is listed on Discogs as a Guitarist from Mexico. This is currently the only release he is listed on as the main member. He has contributed to several other rock albums over the years it seems.
The liner notes state that this release is loosely inspired by the forms of Japanese Guitarist Masayuki Takayanagi who performed as part of the New Direction Unit. LA Blues is the title of this album two tracks "Projection 8" and "Projection 58" are considered mass projections which are fairly chaotic, while "Projection 14" and "Projection 3" are considered gradual projections and build into chaos slowly.
Overall, I would recommend this release to anyone who enjoys this type of "free" or "psych" jazz music. It is well composed and for sure a great addition to any collection!
Ben Holmes’ Naked Lore (Chant Records) is an intriguing and hypnotic set of music from the trio of Holmes on trumpet, Brad Shepik on guitars, and Shane Shanahan on percussion.
From the opening moments there is no doubt about Holmes mastery of his instrument, his fluid and dextrous trumpet swirls and punches across every track, his virtuosity a by product of his expression, every beautifully crafted line and interjection is woven as a narrative thread throughout this set. Self-described as “a soundtrack to the folk stories your grandparents vowed to forget,” there is a lot to unpick or get lost in here. Contemporary folk music from the Brooklyn enclave.
The plaintive wail of Invocation I/Snake Money gives way to swirling Sephardi flamenco flavours and hypnotic rhythmic propulsion, the music is a heady mixture of the protagonists varied experience, whilst conjuring moods and flavours stretching into the past and an otherworldly sense of mystical geography, it also feels rooted in the Downtown/Brooklyn reality of its conception. An alchemists melting pot transmuting global influences into an elixir of 21st century tradition, skipping between its constituent parts, flamenco, balkan, Indian flavours swept in and scattered out in a cohesive flurry of ecstasy.
There is a joyful interaction of the contrapuntal opening of Two Oh No’s and an Oh! no No! With Holmes and Shepik playing lines that swirl around each other set amongst Shanahan’s percussion breaks before converging and darkening, thickening into a dark and brooding middle eastern theme. Holmes extemporising and increasing in intensity over a building, driving, relentless ostinato, his pyrotechnics soaring into the higher register before reiterating and extemporising on the opening again as a launchpad for Shepik’s improvisation is a high point of the track as well as the record.
First We Were Sad; Then We Danced stretches the band out on a rollercoaster journey, Holmes pulls eloquently at his melodic line alternating between crisply articulated flurries and laid back melodic fragments, the music evolving into a more grungesque flamenco backing as backdrop for another sparkling solo, Holmes is able to condense and transport the history of avant-Jewish trumpet playing from Ziggy Elman, subverting the Hora, to modern day master Frank London (who Holmes has subbed for in Zion80) into a single whinny, placing him in an enviable continuum.
The elegiac All Together flits between ballad and etude, a deceptively angular melody with wide intervalic passages smoothed into a passionate weeping refrain. Similarly with Invocation II/The Dust Of Unremembering The trumpet cadenza/invention as an introduction leads gloriously and seamlessly into further exploration over a deeply hypnotic groove pattern. Holmes’ canon as solo performer thrust into the spotlight on these tracks, his solo playing relishing the space and vacuum, flowing out to fill the void.
There is a feeling of solo etudes which stretch out into ensemble interaction, building and reinventing with organic delight.
Naked Lore is well crafted and varied, the ensemble handle the creation of space deftly, able to flit between deceptively dense sections and starkly isolated moments. There are reminiscence here of Ron Miles’ Quiver beyond the obvious line up parallels and stylistic differences the interplay and interaction which speaks to a deeper understanding of the musicians. The playing manages to both highlight their skills but place their interaction not individualism at its core.
Let Spin almost exist in two distinct parallel realities, their live performances are driven by an intoxicating, visceral energy, momentum building inexorably before crashing into frenzied climax. Their studio offerings lose none of this power but integrate the idea of the studio as a medium in itself. An extra layer of complexity and depth is added with the post-production additions and manipulation. There is no concept of one being a commentary on the other they both exist as statements perfectly apposite for their environments.
The four piece supergroup of Chris Williams (alto sax), Moss Freed (guitar), Ruth Goller (Bass) and Finlay Panter (drums) put their egalitarian philosophy at the front of their identification and it is easy to hear why aside from their sharing of compositional duties. This is music that depends on micro-level interaction and sympathy. Their individuality clearly expressed but subsumed by service to the music, each pulling and testing the limits of self-expression within the ensemble. Starting from common inception they pull at threads, weaving through the layers of possibilities, stretching the elastic parameters of improvisational exposition before coalescing, returning as if through the prism of a greater understanding and eschewing mere recapitulation.
Stuttering, stumbling grooves and shifting time feel like cornerstones of this album. Restless and unpredictable foundations juxtaposed with flowing melodic lines, dirty, industrial grooves and beats as contrast to ethereal beauty and linear exposition, everyone in turn assuming propelling, supporting and elevating roles, switching swiftly as each turn refocuses energy and direction.
Goller’s bass at the start of the albums single Sketch explodes with crackling hard-edged rock intensity, driven by Panter’s incandescent hip-hop flavoured drumming, the track feels headed towards a febrile avant-rock bonfire before the subversion of Williams and Freed’s entry with beautiful wide open harmonic lines, evoking an ECM/Frisell-esque dream state, red and white hot flames pulling and feeding each other before a turn-on-a-dime change in pace. Let Spin are a dextrous ensemble, their music is complex but deceptively beautiful, able to imbue rhythmic complexity and harmonic adventurousness with an an effortless mastery, at turns provocative and playful.
Ghostly produced by Kit Downes sets itself apart without incongruity, recut and multi-layered, with sonic reminiscences of Naked City’s Absinthe and Kagel’s Improvisation Ajoutee, the joyful, transcendental chaos and convergence of this track makes the three year gestation from recording to release, and the five years since 2015’s Let Go worth the wait alone.
Each of the album’s tracks are individual sonic edifices deserving and rewarding of repeated listening, explosive and beautiful at first listen there is more here than it is possible to digest without immersion.
Maybe its easy to forget with the passing of almost 80 years since the Bebop revolution, that Dizzy Gillespie wasn’t the clowning showman of grainy youtube footage watched all at once with time compressed into meaningless instancy but a fearless sonic radical, changing and innovating, moving through revolution and change creating and assimilating myriad influences, restless and experimental. He was fired from Cab Calloway’s band ostensibly for the firing of a spitball at the leader (for which he was blamed) but more likely because he kept playing all that “Chinese music’ incongruent with Calloway’s sonic safe space.
Dave Douglas’ Dizzy Atmosphere tribute draws on these conceptual ideas of experimentation and evolving music, tribute as continuation of ideas rather than slavish recreation.
Of the albums nine tracks only two are Gillespie compositions, placed at the heart of the album, allowing Douglas’ originals to spread and spiral out from their legacy as if they are the planet and the new compositions are the atmosphere made possible by their existence.
The dual trumpet front line with Dave Adewumi allows for infinite sonic blurring and possibility, their tones coalescing and diverging as if brush strokes, definable but with blurred edges bleeding into the music and refusing to be tamed into straight lines. Their numerous interactions evoke not the ‘cutting contests’ of Minton’s jams, apocryphal or real battles but the feeling of artists in pursuit of a intangible perfection, mutually inspiring each other to greater heights and revelling in the sonic treasure of the rarefied atmosphere.
The record is lush and beautiful, Fabian Almazan’s piano creating deep and immersive lagoons over which the trumpets wallow romantically and soar with angular dexterity, moving effortlessly between wistful romanticism and hard-edged corners. Shades of Mingus and Ellington evoked with effortless mastery, whilst other moments of orchestration have wistful traces of Kenny Wheeler.
Matt Steven’s guitar acts almost at times as an anchor in modernity, the use of subtle effects and pedals pulling us forward and rooting us in now, juxtaposing without jarring, always sympathetic, channeling us down another path of possibilities.
The Bass of Carmen Rothwell provides consummate anchoring of the ensemble and also acts as portentous foreshadowing of change, ominous cadences prompting fiery pyrotechnics.
Dizzy Atmosphere is a complex and layered work, creating sound worlds built from seemingly divergent sources all masterfully and sympathetically built into a series of shifting realities that undulate and stream into new environments propelling the improvisation and interaction into an interconnected stratosphere. Made possible by a dextrous and beautifully attuned ensemble, building huge sonic environments and capable of the tiniest of subtle intricacies as well as the large almost overwhelming impressionistically orchestral vibes.
Crucially though, Dave Douglas on any project is always instantly identifiable. He has his own distinctly recognisable sonic identity and language which transcends the idea of imitation, allowing him to transcend superficial ideas of artificial genre construct. Whether as a side musician or leader he always sounds like himself and is always in the service of the music, never shrinking into a facsimile but constantly connected to a vast infinite heritage of musical input. With his tribute projects he draws us inside a process, holding up a torch in a swirling vortex of infinite possibilities and picking a path. An exploration of the endless continuum of inspiration his uniqueness is a perfectly apposite admixture of heritage and innovation.
One of the strengths of the music here is the way it propels and implies, it’s almost impossible to listen to Cadillac without hearing Gillespie’s gravely voice drift across the trumpet coalescence of the melodic centrepiece, likewise Pickin’ The Cabbage is a wild ride through implied big band motifs and large ensemble power, a black and white newsreel footage ride through 52nd Street in Bops heyday and contains a delightful Joey Baron solo which brings Chano Pozo to the forefront of your mind without ever sounding like anything but Joey Baron.
There is restless innovation as well as deep respect and appreciation here, constant tension and release, the ensembles pulls you in different directions very tangibly exploring the endless possibilities for this music and often leaving you dazed by the amount of ideas introduced, explored and developed seemingly in a short space of time. The hypnotic effect of the beauty of the ensemble building and exposition places a timelessness on all this material, its possible to get lost in this music and I will continue to joyfully do so.
Post-Biological Wildlife is a 6-track album with electro-acoustic contemporary music by composer, musician and producer Juhani Silvola.
I'm thrilled: The music on this album is something of the best I've heard in the past few months! Compositional and music-performing craftsmanship and creativity combine to create a masterpiece. Listening was a real pleasure! The compositions captivate with creative simplicity, intelligence, with great attention to detail, and testify to an incredible sense of aesthetics and beauty. It is music that sounds like an artificial, futuristic soundscape of nature and wildlife - and it's very well done. Bravo!
Track number one "Ritualrytmikk" appears modest at first. But this first impression is a fallacy, as you will quickly notice. Every single sound appears razor-sharp, carefully edited and then skillfully arranged. The musical craftsmanship is convincing right from the start and thus draws the listener's attention. "Ritualrytmikk" is mainly percussive sounds with clear, stringent lines in the aesthetics of their arrangement, and with subtle but targeted dynamics: The arrangement of the sounds and the quality of the sound modifications captivate the listener within seconds with enormous suction power - not intrusive, but striking. An invitation to research: How wild can a "post-biological wildlife" be?
The first track then takes you directly to “Machines of Loving Grace”. This second piece bores like a needle into the percussive landscape, which was drawn with "Ritualrytmikk". The wildlife of this electroacoustic wilderness shows its claws and hunting skills. The music stalks the listener attentively ... what happens now? It's a hunt in the most delightful way; and I truly enjoy being the hunted one. This track immediately creates a cinema in the listener's mind. The listener finds himself in the middle of the music, surrounded, curious, driven, challenged: what's next? Not only are the percussions vibrated, but also one's own emotions, and everything gets electrified. An impressive composition - massive but never overwhelming. Fantastic!
The third track is titled "Vaster Than Empires". Here with skillful violin playing by Sarah-Jane Summers. The craftsmanship of instrumental performance and composition is still maintained at a very high level. A composition in which tenderness and tension are paired - playing around each other, carefully probing and then falling over each other. What a dynamic! I listen spellbound and become part of a very intimate and intense moment, in the middle of a large, lively jungle. Where is the journey going now?
With "20th Century Meditation" the journey goes deeper into this jungle ... As a listener you really feel like a researcher on a wilderness expedition. Now the music is pulsating, mystical: the lianas of the mallet percussions surround the listener. At the end of the piece you wake up like from a dream - or was it real?
Post-Biological Wildlife: It sounds like a woodpecker is pounding, the wind is blowing, birds are chirping ... The electro-acoustic music with all its facets and differences is equally balanced: harmonious and virtuoso at the same time. Somewhere between fact and fiction, between natural history and fairy tales. Magical, futuristic and realistic - all at the same time. The listener has arrived at the edge of the forest: more bright spots, more transparency, more air. Chirping here and there. Stop! Wait! Listen! What was that?
With "Speculative Phonography pt. 1", the last track on the album, the listener suddenly realizes that he is not in a dream world anymore, and that he is not a researcher who understands everything and who has everything under control, but is actually still being hunted. The "sound predator" likes the transparency into which it has preyed: the field is open and wide for the grand finale of the chase. The tension rises (skillfully evoked), step by step, the breathing comes closer, and finally the hunter and the hunted face each other. What exactly is happening here? It feels like a complete fusion of music and listening experience: Who is the one breathing? The listener or the music? Everything seems to be interwoven. The hunter and the prey have become one, the boundaries between music and humans, electronics and acoustics have dissolved.
My research results: These compositions of Juhani Silvola show us that music lives on regardless of the sound possibilities of the future; free in the meaning of wide-ranging, wild in the meaning of challenging, and purposeful in regards of artistic expression - in every kind of soundscape. Highly Recommended!