Six Organs of Admittance releases Companion Rises, their first full length in three years, on February 21, 2020 via Drag City Records. The band has shared a teaser track on various digital platforms, titled “Two Forms Moving.” Great loping rhythm guitar line here Offset by strings and overdubbed backing singers, the lead vocal is gently paced: a dash of indie meeting a slab of folk. A vibrant lead guitar solo pushes the track into effervescent terrain.
In recent years, pianist Ethan Iverson has been collaborating with a number of artists, particularly elder statesmen of the jazz tradition. In 2017, he appeared at the Village Vanguard with trumpeter Tom Harrell. The performances were document on Common Practice, Iverson’s most recent ECM recording. In addition to Harrell, the CD’s personnel includes bassist Ben Street and drummer Eric McPherson, longtime associates of the pianist.
The common practice to which the title refers are jazz standards, mostly from the Great American Songbook but also bebop originals. The group investigates a range of styles, from ardent balladry on “The Man I Love” to smoky lyricism on “I Can’t Get Started” to puckish wit on “Sentimental Journey.” Harrell and Iverson display imaginative recasting of harmonic changes throughout, but especially on vigorous versions of “All the Things You Are” and “Wee.” Iverson contributes two tunes, “Philadelphia Creamer” and “Jed from Teaneck,” both blues with twists and turns of the form.
On Wednesday, October 16th, the quartet reunites for two sets at Jazz Standard (details below). Their take on jazz’s common practice is not to be missed.
Ethan Iverson Quartet featuring Tom Harrell
Wednesday, October 16 - shows at 7:30 and 9:30 PM
116 E. 27th Street, NYC
Ethan Iverson – piano
Tom Harrell – trumpet, flugelhorn
Ben Street – bass
Eric McPherson – drums
On Sun of Goldfinger, his latest recording for ECM Records, saxophonist Tim Berne partners with guitarist David Torn and percussionist Ches Smith. The outing incorporates the avant-jazz palette usually adopted by Berne and Smith along with amplified sonics and effects incorporated by Torn.
There are three long-form pieces on Sun of Goldfinger. “Eye Meddle” builds from a fragmentary welter of ostinatos, each at first seeming to go their own direction, into a tightly interwoven and densely populated texture with wailing upper register saxophone accompanied by an insistent guitar melody and double time rhythms from Smith. Torn’s guitar then soars to match Berne, overdubs allowing for him to add a feisty rhythm guitar part to the mix. A filigreed, polyrhythmic denouement follows.
“Spartan, Before it Hit” opens with sustained upper register guitar answered by a mournful saxophone melody. A unison melody is offset by altissimo saxophone harmonics in imitation of the earlier high-lying guitars; Smith takes on a motoric beat while Torn contributes thunderous rock riffs and Berne corresponding squalls. The climax involves a huge crescendo from Smith, Torn’s laser beam guitar lines, and angular soloing from Berne. A subdued interlude, quite gentle in context, follows. Alternating with more forceful passages, an extended reflective demeanor explores fascinating musical pathways. At the conclusion, altissimo register saxophone alongside loping guitar is reasserted to make for a neat moment identifying the piece’s larger form.
The album’s closer, “Soften the Blow,” begins with oscillating dyads and bits of scalar passages. Sonorous guitar chords interrupt these fragments, followed by sci-fi effects, overblowing, and reverberating sounds from Smith. The drums finally enter, punctuating the music’s surface with short, muscular gestures. Berne then takes a solo that combines the fragments of the opening into piquant, post-tonal lines. While Torn reaches deep into the spacey side of his effects kit, the saxophone solo kicks into high octane, as do the drums. Smith creates a fascinating panoply of cymbal sounds and Torn’s solo matches Berne’s intensity, even bringing out the whammy bar for bent note emphasis. Behind all this is a doom-rock ostinato that propels the proceedings. The structure devolves, yielding a more ruminative passage where each member of the trio goes their own way. Wailing guitar and emphatic drums provide the link to another long crescendo in which Berne bides his time, allowing the spotlight to rest on his colleagues’ interaction for a time before rejoining the proceedings to lead it into fervent free jazz territory. A brief coda brings the boil back to simmer, leaving the listener with much to ponder.
On October 13th in New York City at Nublu 151 (151 Avenue C in the East Village), the trio will appear in a show at 9 PM; doors open at 8 (Tickets here).
William Byrd – The Great Service and Anthems
Odyssean Ensemble, Colm Carey, director; Christian Wilson, organ
William Byrd is often associated with Catholic church music, contributing three masses and collections of propers. He also composed one of the finest collections of Anglican music, a “full” or “long” service of the music for the daily offices. After his death, it was dubbed “The Great Service.” One can readily hear why in this superlative debut recording by Odyssean Ensemble, directed by Colm Carey. Written for two vocal quintets – placed on either side of the chancel – the piece is a feast of antiphonal effects with many vocal combinations and a plethora of contrapuntal techniques. Byrd was mindful of reformers’ insistence on textual clarity and primarily syllabic declamation; all of these peregrinations are accomplished while incisive text-setting is maintained.
Singing from a new edition of the piece prepared by Andrew Johnstone (who also contributes informative liner notes), recorded in a sumptuous space, Odyssean Ensemble deploys a warm sound with impressive diction. Carey’s shaping of the piece yields spry rhythms and elegant phrasing. A selection of English anthems appealingly augment the program. In addition to accompanying the singers on the lovingly reconstructed St. Tello instrument, organist Christian Wilson contributes a nimble reading of a Fantasy by Byrd. Devotional texts, read by the actor David Suchet, are a welcome inclusion. The recording is an example of fastidious detail to history breathing new life into an underserved work. One hopes that a recording of Byrd’s masses will be soon to follow.
Vers une présence réelle
Ensemble Proton Bern, Matthias Kuhn, conducter
Kairos CD 0015036KAI
Born in 1967, Swiss composer Dominique Schafer spent time in Paris and Boston before taking up his present academic position at Chapman University in California. This is his first monograph CD. Ensemble Proto Bern supplies the recording’s eloquent performances, illuminating intricate timbres and revelling in the rhythmic intricacies of Schafer’s music.
While musical style and geography of scenes aren’t always complimentary, Schafer’s time in Paris is a clear point of departure for post-spectralist works Cendre, for bass flute and 8-channel electronics, and Ringwood, for clarinet and live electronics. Both flutist Bettina Berger and clarinetist Richard Haynes are estimable advocates who take extended techniques in stride. Microtones and colorful alternate fingerings are haloed by electronically deployed harmonic series.The varied, muscular gestural palette that ensemble works such as the title composition, Anima, and INFR-A-KTION possess suggests that Schafer’s time at Harvard may have imbued his work with more than a hint of East coast modernism. Whatever the source of his inspiration, Schafer’s is an attractive, polyglot musical language.
Vers une présence réelle demonstrates the variety Schafer seamlessly brings to bear. Verticals are frequently treated to intervals that fall outside of the equal temperament spectrum, coloring chords with tart microtones and overblown howls. Piano and harp, both playing in equal temperament, supply a contrasting harmonic spectrum. These are offset by half-step oscillations and repeated notes in the strings and dissonant trumpet fanfares. Surging wind harmonics, contrasted by wide-ranging piano arpeggiations and flurries of violin, populate the coda with echoes of the main body of the piece.
The instrumentation of most of the pieces can be accommodated by standard instrumentation. However, INFR-A-KTION features lupophone, an extremely low oboe, played by Martin Bligginstorfer, and contraforte, a contrabassoon on steroids played by Elise Jacoberger. The overall registral deployment of the piece sits low, providing a sepulchral environment in which to hear these portentous low winds to good effect. Strings arc overhead, playing angular filigrees in contrast to the bass register utterances.
Vers une présence réelle provides an excellent introduction to the breadth of expression in Dominique Schafer’s music. One eagerly awaits future recorded documentation, perhaps of some of his orchestra music.
Goldsfield Ensemble, Richard Baker, conductor
Once one hears Paths, the octogenarian Erika Fox’s first CD, their first reaction may mirror mine: one of incredulity. How is it possible that a composer this talented with such a distinctive and assured musical voice had to wait so long for a monograph recording? To their credit, NMC has been a strong advocate of female composers for a number of years; I’ve recently been enjoying their recordings of Elizabeth Lutyens’s music. Thank goodness they have partnered with the Goldfield Ensemble to present Fox’s work while she is still alive to hear the results.
Born in Vienna in 1936, Fox was a war refugee who moved as a child to England. Her music is strongly infused with cultural heritage; Chasidic chant plays a large role in its conceptual framework. A strong sense of linearity is offset by a piquant harmonic palette and lively rhythms. In addition to a deft hand with pitched instruments, the works on Paths display Fox’s imaginative sense of timbre in her use of percussion. Goldfield had to retain a large battery of instruments to realize the CD’s program. Ensemble member Kate Romano points out in personable and informative liner notes that traditional development isn’t deployed. Instead a single line will weave discontinuous musical arguments that don’t return for a recapitulatory visit.
The CD begins withPaths Where the Mourners Tread,a substantial work in which the aforementioned linear narrative is passed from instrument to instrument. One gets the sense of wending through a labyrinth of contrasting textures, holding on to the aforementioned linear thread like breadcrumbs through the forest. Fox’s provides a delightful, mysterious sound world in which to get lost. This is equally true of Quasi una Cadenza, which contains beguiling writing for winds. A downloadable bonus track, Kaleidoscope, is equally varied and compelling.
Pianist Richard Uttley supplies an incisive and persuasive performance of the solo work On Visiting Stravinsky’s Grave at San Michele, where Fox embraces the influence of other composers. Blocks of material and incisive rhythms evoke Stravinsky, particularly his late dodecaphonic pieces. There is also a hint of Messiaen in the bird call-like cries of the upper line. Another piece indebted to a twentieth century composer is Malinconia Militaire, which is based on a poem that references Anton Webern’s Opus 4 songs.
Café Warsaw 1944 closes the CD. It is a piece inspired by the Czeslaw Milosz poem “Café. All four, relatively brief, movements, are led by the percussion section. The poem’s discussion of “the quick and the dead” and the small distance between them once again inspires Fox to inhabit the work of the Second Viennese School, but pointillism and chromaticism are contrasted with repeated chords and arpeggiations from the piano and taut percussion lines.
Fox’s music often seeks rapprochement with the past, addressing the experiences of her refugee childhood and Jewish background as well as the ghosts of midcentury concert music. Still, the manner in which the composer synthesizes these elements supplies vividness and urgency very much in keeping with present day concerns. The Goldfield Ensemble plays assuredly throughout, giving these underserved works excellent documentation. Now it is up to the rest of the musical world to take up Fox’s compelling music and make it much more widely known. One hopes this will happen forthwith.
The July 2019 issue of Tempo includes three contributions from yours truly: an analytical article on Helen Grime’s music and reviews of Joseph Straus’s latest book on disability studies and musical modernism and Zeno Baldi’s portrait CD on Stradivarius.