Below is the premiere of my Quintet 2 by East Coast Contemporary Ensemble, conducted by Jean-Philipe Wurtz, at Tulane University’s Niente Forte Festival.
One of Prince’s greatest late songs.
3 Compositions (EEHMH) 2011
Firehouse 12 3xCD/blu-ray/digital
Anthony Braxton: composer, sopranino, soprano, and alto saxophones, iPod;
Taylor Ho Bynum: cornet, flugelhorn, trumpbone, iPod;
Mary Halvorson: guitar, iPod;
Jessica Pavone: violin, viola, iPod;
Jay Rozen: tuba, iPod;
Aaron Siegel: percussion, vibraphone, iPod;
Carl Testa: bass, bass clarinet, iPod
“As a culture, we are slowly moving away from target linear experiences that are framed as stationary constructs that don’t change on repeated listening, to a new world that constantly serves up fresh opportunities and interactive discourse. American people have made it clear that the new times will call for dynamic inter-action experiences.”
- Anthony Braxton
Compositions 372, 373, and 377 are the next phase in Braxton’s use of recorded sounds as part of the musical fabric of his work. Each of the musicians playing on the recording is not only responsible for their respective instruments; they are each also equipped with an iPod on which they can call up past Braxton recordings to add to the proceedings. While one might expect a fair bit of chaos from this approach, the results are surprisingly focused. Recorded when Braxton was sixty-five, his skills as a player remain undiminished in their vitality and improvisational acumen. Correspondingly, his collaborators possess, to a person, both strong vantage points and enviable chops.
The compositions on display here are filled with swaths of variegated textures. One of the cool things about the addition of the iPods is that different instruments than those possessed by the live cohort get to take solo turns. Thus, we hear voices and piano interject asides amid the vigorous exertions of the players. As a trope on listening in the digital age, with the dangers of information overload and the distractions of an increasingly saturated environment rife with visual and sonic information competing for attention, this current Braxton project is certainly a successful experiment. But the ability of the players to pace their exchanges, exquisitely varying the saturation level of the discourse, also allows listeners a way to recalibrate that is most musically compelling. Recommended.
Raime’s LP sophomore LP Tooth is out on Blackest Ever Black on June 10. Below, stream album track “Dead Heat.”
Congratulations to composer and multi-instrumentalist Henry Threadgill, who has won the 2016 Pulitzer Prize in music. One of the original AACM members, Threadgill’s recent work has been distinguished by an intervallic approach to improvisation, in which each member of the band has a limited catalogue of intervals that they can perform, with the sum total creating intriguing harmonic and contrapuntal materials.
In for a Penny, in for a Pound, the prizewinning work, features Zooid, the band with which Threadgill has worked for fourteen years, using just such an approach to making music. In addition to two short movements, Threadgill has composed long movements that each successively feature a different member of Zooid.
Threadgill’s latest recording, Old Locks and Irregular Verbs, features Ensemble Double Up, the first new band with which he has recorded in fifteen years. It includes pianists Jason Moran and David Virelles, alto saxophonists Roman Filiu and Curtis MacDonald, cellist Christopher Hoffman, tuba player Jose Davila, and drummer Craig Weinrib. Cast in four movements, it is dedicated to the late Butch Morris, channeling some of his “conduction” style of improvisation.
A Cosmic Rhythm With Each Stroke
Vijay Iyer, piano, Fender Rhodes, electronics
Wadada Leo Smith, trumpet
ECM New Series CD 2486
A Cosmic Rhythm With Each Stroke is a duo outing featuring keyboardist (and recently hired Harvard Professor) Vijay Iyer and trumpeter elder statesman Wadada Leo Smith. The most striking aspect of the duo’s approach is their willingness to cede each other space in the proceedings. Thus instead of the rapid call and response we frequently hear from jazz duos, here there are often successive solos which mine connected musical territories.
The central part of the album is an extended suite titled A Cosmic Rhythm With Each Stroke. Dedicated to Indian artist Nasreen Mohamedi (1937-1990), it finds the duo exploring a variety of textures. In addition to piano, Iyer breaks out electronics and a Fender Rhodes, leavening the proceedings with a judicious use of each. Smith frequently explores the stratospheric range of his instrument, punctuating his solos with trills, staccato outbursts, and overblowing. When the two come together in closer colloquy, the intervening soloing morphs into an impressively rich stack of piquant harmonies and imitative gestures.
The CD closes with a truly beautiful composition by Smith, “Marian Anderson,” named after the celebrated African-American contralto. Along with the album opener, Iyer’s “Passage,” it brings out a different demeanor from the musicians: lyrical, less angular, and more directly collaborative. While one certainly appreciates the approach on the central suite, offsetting it with these two tunes is an elegant touch.
Tortoise has still got it. Their latest Thrill Jockey release, The Catastrophist, amply proves that, as does the live video below.