Kategorie

Clockwise


  • Kod: PI79
  • On Stock
  • Producent: Pi Recordings (USA)
  • Wykonawca: Anna Webber
  • Nośnik: CD
  • Instrument lidera: saxophones
  • Cena: 66,99 zł
  • Poleć produkt

Modern Jazz / Indie Jazz
premiera polska:
2019-08-07
kontynent: Europa
opakowanie: digipackowe etui
opis:

multikulti.com - ocena * * * * *:
Anna Webber, beneficjentka stypendium Guggenheima w ubiegłym roku, saksofonistka, flecistka, kompozytorka i improwizatorka. Właśnie wydała swoją płytę dla legendarnej nowojorskiej oficyny Pi Recordings.
Płyta zatytułowana jest „Clockwise” i nagrana została w towarzystwie takich muzyków jak Jeremy Viner – saksofon tenorowy, klarnet, Jacob Garchik – puzon, znany z zespołów Henry’ego Threadgilla wiolonczelista Christopher Hoffman, Matt Mitchell – fortepian, Chris Tordini – kontrabas, i perkusista i wibrafonista Ches Smith.
Na swojej najnowszej płycie “Clockwise” Anna Webber skupia się na perkusyjnych i rytmicznych aspektach współczesnej muzyki, jest to także swego rodzaju hołd złożony szczególnie ważnym dla niej kompozytorom - Iannisowi Xenakisowi, Mortonowi Feldmanowi, Edgardowi Varése, Karlheinzowi Stockhausenowi, Miltonowi Babbittowi oraz Johnowi Cage’owi. Mamy jednak do czynienia z artystką awangardową, która jak sama o sobie mówi w wywiadach "jako improwizatorka, która pisze muzykę dla innych improwizujących muzyków, ale także lubi zapisywać dużo nut na papierze, w muzyce ciągle poszukuję aspektów, które da się określić i tych, w przypadku, których jest to niemożliwe", nie jest to jednak hołd wyrażany wprost. Anna Webber sięgając głęboko do artystycznych rozlewisk wyżej wspomnianych kompozytorów, skupia się nad nadrzędnymi koncepcjami muzycznymi, charakterystycznymi dla tych gigantów XX wiecznej awangardy, i snuje własne rozważania nad nimi i możliwościami, jakie oferują w świecie muzyki notyfikowanej i improwizowanej.

Do realizacji swoich śmiałych zamierzeń dobrała sobie wybornych instrumentalistów, z którymi bez wyjątku już wielokrotnie współpracowała. Dzięki temu zbudowanemu zaufaniu pomiędzy muzykami brak tu niepewności i zawahań, a niepodważalne kompetencje muzyków domykają to wspaniałe nagranie, które ma wszelkie szanse na najwyższe oceny krytyków i jazzfanów.
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jazzarium.pl:
Słuchając albumu Clockwise chwilami mam wrażenie, że uczestniczę w jakimś pierwotnym plemiennym rytuale, który rozgrywa się na placach, w parkach i miejscach koncertowych współczesnej wielkomiejskiej dżungli. Twórcą tego intrygującego dzieła, z pogranicza jazzu i muzyki współczesnej, jest kanadyjska saksofonistka, flecistka i kompozytorka Anna Webber.

Kanadyjka studiowała muzykę na Uniwersytecie McGilla w Montrealu, następnie w 2008 roku przeniosła się do Nowego Jorku gdzie uzyskała tytuł naukowy na Manhattan School of Music. Od tego czasu rozpoczęła się jej współpraca ze współczesną sceną jazzową NY, w szczególności z takimi jej wybitnymi przedstawicielami jak: John Hollenbeck, Steve Lehman, Tyshawn Sorey, Henry Threadgill czy Tony Malaby. Septet Anny Webber tworzą muzycy stale współpracujący z wymienionymi solistami, instrumentaliści o dużej wrażliwości, świetnie wykształceni i biegli technicznie, swoją wyobraźnią wykraczają daleko poza klasyczną jazzową formę, której jednak na Clockwise nie brakuje.

Otrzymujemy dziewięć kompozycji i 50 minut pasjonującej muzycznej podróży do świata, w którym rolę przewodnika pełni rytm. Saksofonistka bardzo precyzyjnie dobrała instrumentalne głosy septetu i z dbałością o sonorystyczne szczegóły napisała swoją własną muzykę. Z drugiej strony Clokwise w całości dedykowana jest kompozytorom muzyki XX wieku, twórcom klasycznej muzyki współczesnej, postrzeganym tutaj przez ich dokonania w dziedzinie rytmiki i brzmień perkusyjnych. W ramach przygotowań do nagrań Webber spędziła miesiące na badaniu i analizowaniu różnych perkusyjnych utworów Iannisa Xenakisa, Mortona Feldmana, Edgarda Varése, Karlheinza Stockhausena, Miltona Babbitta i Johna Cage'a.

Nowa muzyka Anny Webber udowadnia, że uprzywilejowanie rytmu, kosztem melodii i harmonii, nie powoduje, że przestaje ona być spójną i traci jakieś ważne treści, wręcz przeciwnie, muzyka sprowadzona do brzmień i impulsów rytmicznych staje się większym wyzwaniem dla improwizatorów i to zarówno na poziomie solistycznym jak również w improwizacjach zespołowych, ponieważ mogą więcej wyrazić w improwizacji, która nie jest tu mocno uwarunkowana harmonicznie. W dynamicznych kompozycjach, usłyszymy ekspresyjne improwizacje Matta Mitchella na fortepianie, Jacoba Garchika na puzonie, Christophera Hoffmana na wiolonczeli i samej liderki, intrygującej zarówno jako flecistka i saksofonistka.

Z jednej strony mamy tu do czynienia z partyturą (prawdopodobnie graficzną), a z drugiej, z formą otwartą, tak aby pozwalała ona muzykom na wyrażenie indywidualnej ekspresji. Ponadto muzyka powoduje wiele skojarzeń (ponad te, o których wspomina sama kompozytorka), ze swojej strony odnalazłem na Clockwise coś z brzmień orkiestrowych suit Duka Ellingtona, Creative Orchestra Anthony Braxtona, a także muzykę Johna Lourie, którego twórczość można nawet uznać za prekursorską dla tego rodzaju wykonawstwa. Dobrze znamy wszystkie składowe muzyki Anny Webber, znamy jej muzyczne środowisko i artystyczne inspiracje, a jednak jej muzyka wciąż brzmi bardzo świeżo i chciałbym napisać "nowatorsko" ale nie jest to dobre określenie. Lepszym będzie napisać, że to po prostu dobrze pomyślana i wykonana muzyka.

Clockwise jest 11 płytą w dyskografii Anny Webber i pierwszą nagraną dla niezwykle cenionego, zarówno przez krytyków muzycznych i melomanów, wydawnictwa Pi Recordings z Nowego Jorku, wcześniej zrealizowała swoje nagrania między innymi dla Skril oraz Pirouet Records. Oprócz septetu, Webber prowadzi również Simple Trio, w którym występuje perkusista John Hollenbeck i pianista Matt Mitchell. Z pewnością warto sięgnąć także do tych nagrań.
autor: Andrzej Kalinowski

Editor's info:
Pi Recordings is pleased to welcome saxophonist/ flutist/ composer Anna Webber (b. 1984) as the latest addition to the label’s family. A 2018 Guggenheim Fellow, she has been an active performer and bandleader on the New York scene for the last decade, appearing with Matt Mitchell (A Pouting Grimace), Dan Weiss (Sixteen: Drummers Suite), and Jen Shyu (Song of Silver Geese), all on Pi, in addition to other significant releases including All Can Work from drummer John Hollenbeck’s Large Ensemble (a 2018 Grammy nominee) and Engage, upcoming from trumpeter Dave Douglas. Described by The New York Times as “unrelentingly inventive,” Webber’s own projects are clear expressions of her knotty compositional sense. She has released ten prior records as a leader or co-leader, with the most recent featuring her Simple Trio with Matt Mitchell and John Hollenbeck: Binary (2016) and SIMPLE (2014), which was hailed by The New York Times as “bracing, argumentative and engineered to show the range of the group members: fulminous, intense collective improvisation; rapid, chromatic steeplechases; research into long tones and textures.”

Her new release, Clockwise, is an homage to some of her favorite 20th Century composers as seen through the lens of their works for percussion. For the project, Webber spent months researching and analyzing various percussion compositions by Iannis Xenakis, Morton Feldman, Edgard Varése, Karlheinz Stockhausen, Milton Babbitt, and John Cage, isolating particular moments that could be extracted and developed into new works. According to Webber, “The goal was not to re-contextualize the composers’ original intents or ideas, rather it was to find hidden sympathetic points of resonance within the primary compositions that I could abstractly develop into new works.” The music explores notions of density and indeterminacy, using timbre as an organizing principal, continuing Webber’s ongoing exploration of the interstice between creative improvisation and tightly-prescribed compositions. By foregrounding timbre — including the use of extended techniques to create novel sounds — Webber explored questions she had unearthed while researching percussion music: How can timbre be the main driving force of a piece of music? What is left when one subtracts pitch and harmony, or rather, how can a piece be built without those things and what makes such a piece coherent?

“Kore I” and“Kore II,” inspired by the Xenakis masterpiece Persephassa, feels like the mechanical movements of an off-kiltered watch, with each gear rotation triggering another unexpected series of sounds. “King of Denmark I, II and III” take their title from Morton Feldman’s graphic composition of the same name, and all stem from short, directed improvisations, with II and III assembled by Webber using recordings of improvisations from Ches Smith and Chris Tordini. “Loper” is a distillation of certain formal elements of Edgard Varese’s Ionisation, mixed in with explorations of highly-theoretical trombone split tones and saxophone multiphonics. “Clockwise,” informed by Stockhausen’s Zyklus, moves episodically through sections of varied density. Like its inspiration, the piece could hypothetically be performed in circular form, using any point in the piece as its starting and/or ending point. Milton Babbitt’s solo snare drum piece Homily served as the organizational stimulus behind “Array,” while “Hologram Best” takes its cue from Third Construction in Metal by John Cage. “Idiom II” is the one conceptual outlier on this album in that it is the one composition which Webber used codified and notated elements of her own improvisational language, rather than a specific percussion work, as the driving force. Despite the highly composed nature of the music, Webber leaves each musician – herself on tenor sax and flute, Jeremy Viner (tenor sax and clarinet), Jacob Garchik (trombone), Christopher Hoffman (cello), Matt Mitchell (piano), Chris Tordini (bass), and Ches Smith (drums, vibraphone, percussion) – plenty of room for solos as well as secondary opportunities for improvisation.

With its idiosyncratic and specific focus on timbre, Clockwise is a highly disciplined work that still breathes with powerhouse improvisation, losing none of its emotion intensity and groove in its unpredictable twists and turns. Matt Mitchell sums it up best: “With her music, Anna manages to exhibit many distinctive recurring traits with an unmistakable consistency of purpose while still allowing for a wide variety of characteristics and moods. Obsessive repetition, inexorable unfolding, comprehensive timbral considerations, rhythmic vitality, a sense of the uncanny and the previously unheard. They present the chance for musicians to stretch themselves and to feel free within new environments. Sonic treasures abound.”

freejazzblog.org - ocena * * * * 1/2:
This was a pleasant surprise for me. I had read about Anna Webber, the saxophonist and composer, before, but I had not yet listened to her music. Clearly, I have been missing out.

This album consists of Anna Webber on tenor saxophone and various flutes, Jeremy Viner on tenor saxophone and clarinet, Jacob Garchik on trombone, Christopher Hoffman on cello, Chris Tordini on bass, Ches Smith on drums, vibes, and timpani, and Matt Mitchell on piano. The band functions impressively as a unit. Still, this album is Webber’s lead, and she shines through her instrumental virtuosity and her impressive creativity over a range of pieces.

Her compositions are stilted. Some, such as “Kore II,” sound like less bop- and more march-oriented Eric Dolphy. Still others, such as “Idiom II” and “King of Denmark I/Loper”, are reminiscent of contemporary Dave Holland compositions, even if they are more willing to explore asymmetry. “Clockwise,” the title track, is more reserved but no less exploratory, coupling a slow, lumbering bass, murmuring clarinet, and whispering flute with cascading piano runs and a well-placed percussive burst of activity to an altogether entrancing effect. “Array” seems based around an angular, deconstructed funk beat and repeatedly referenced but never fully articulated melody. “Hologram Best” is a short meditation on a frenetic but catchy theme, that stands in contrast to the layered bass rumblings of “King of Denmark III” which follows (and, which, itself, contrasts starkly to the jaunty “King of Denmark I/Loper” and the disorienting battlefield, lull-before-the-storm soundscape of “King of Denmark II.”) “Kore I” concludes the album and is rooted in a series of steady bass plucks that are similar in concept to those that drive “Kore II” but create a strikingly different effect, particularly when coupled with the brief melodic interludes practiced between Mitchell’s piano and Smith’s percussion.

The tracks on here vary in mood, tempo, and feel, but nevertheless cohere in their shared zeal for off-kilter exploration. Some pieces are playful; others, more somber and contemplative; others, restive and sinister. This album, in other words, runs a gamut of forms in a manner that compounds into a surprisingly impactful whole. I know we are just finally getting to 2019 releases. Nevertheless, this is one of the best I have heard so far.
By Nick Ostrum

popMATTERS - ocena 8/10:
The new jazz grows more insistent and interesting each year, with a group of brilliant composers and players, particularly in New York, taking the music to riveting new places. This style combines elements from classical "new music" (and its ease with dissonance and extended technique, wildly catholic influences, and a dazzling precision in performance) and from modern jazz (rhythmic momentum, improvisation, and an approach to composition informed by the jazz masters from Ellington to Threadgill and Braxton). Unlike previous generations of jazz/classical hybrids, the new jazz breathes and expands outward, a flowing, thrilling, and utterly natural expression of younger artists whose music educations suggest no meaningful lines between Charlie Parker, Karlheinz Stockhausen, and Sly Stone.

Anna Webber, a composer and woodwind player originally from British Columbia, has been in New York for over a decade, playing with folks like John Hollenbeck, Matt Mitchell, Dan Weiss, Jen Shyu, Ohad Talmor, and Fabian Almazan. She has also played, notably in Ken Thomson's sextet—Thomson being a saxophonist who lives a double life as both a jazz player and a member of the new music Bang on a Can All-Stars. Like Thomson, Webber lives in these shadows, right at the heart of the new jazz, and her latest recording sounds like a watershed in the new form.

Clockwise features a septet that reads like a jazz group on the page: two reeds/woodwinds (herself and Jeremy Viner); trombonist Jacob Garchik; the rhythm section of Matt Mitchell (piano), Chris Tordini (bass); and cellist Christopher Hoffman. In many ways the band operates as a classic jazz band. Smith and Tordini generate a feeling and groove in time, Mitchell often outlines harmonies on piano, and the horns (and cello) tend to play composed melodies in intricate conversation. There are improvised solos—on "King of Denmark I/Loper", Viner embarks on a long improvisation that uses motivic development in a positively Sonny Rollins-esque manner. So this is "jazz", right?

But even a cursory listen to "Loper" as a whole teaches you how distinctive Webber's music really is—a thing from the jazz tradition but flung free from that tradition at once. Its swirling opening—all rattling percussion and horns in a timbral twist—is a set of gorgeous wind chimes that dissolves into an off-kilter groove of drums and horns. The groove is odd in the way that hip-hop can be odd: slightly mechanical or suggesting a polyrhythm that doesn't swing as much as stumble. A melody for piano and cello flows, but the rhythm beneath it gets that much more peculiar in the contrast, lines for different instruments piling up into an unsettling sandwich of slightly different accents and movements. It is from this build-up of tension that Viner launches his improvisation, one that rubs dramatically against the cello's own grind and the peculiar ticking of the drums and bass. It ends up being Mitchell's piano that enters with a set of chords that helps the band to swing somewhat more, to which Viner responds by moving his improvised lines into a more mellifluous format, rising over time to a climax.

What is going on inside the performances on Clockwise is complex enough to require analysis and explanation that would make any written review grow tedious. But what your ear is taking in doesn't have to be anything like math homework. "Array", for example, can be heard as a good ol' jam, if you like—a long and dancing collective improvisation that has much in common with a New Orleans jazz recording or a Grateful Dead version of "Dark Star"—with the musicians working within a tonal framework to spin delicious conversation. Reading that Webber developed this staccato composed texture from a Milton Babbitt solo snare drum piece called "Homily" could make it all seem academic, but your ears don't have to do any research on Babbitt to simply delight in how Webber's flute and Mitchell's piano begin the piece like several treefuls of sparrows waking up in the morning, or how Viner's clarinet moves around nimbly only to be outdone by the positively Astaire-like dance of Garchik's trombone or how Smith's brush patterns on the snare drum pop and swing as if Max Roach had risen and joined the proceedings. There's more here—a strictly composed middle section that is nimble and toe-tapping and, especially, a Mitchell piano improvisation that begins as counterpoint to the horns and then moves into a tempo-less section like a night fog that knows its Duke Ellington before leading the band into a thrilling finish that grooves like dancing typewriter. To hell with analysis: that song is fun to listen to!

Maybe this music is fun because, at heart, it somehow conjures the dance impulse. Webber explains that most of the pieces are based on her interest in the percussion music of a set of favorite modern composers (Iannis Xenakis, Morton Feldman, Edgard Varése, Karlheinz Stockhausen, Milton Babbitt, and John Cage, specifically), which music she has analyzed, pulling out specific passages that could be rearranged and reimagined into new compositions entirely. You can hear the way Webber is playing with fragments of rhythm, most certainly. On "Kore I", there is a distinctive two-note figure that repeats like the ticking of a clock (the name Clockwise certainly makes sense here), holding together everything that circulates around it, including a muted Garchik improvisation that drips with emotion before it becomes unmuted and even more thrilling. Yes, you can hear this if you want to, or you can discard your own analysis and simply marvel at the balance, drama, and enjoyment in these performances.

There are also moments of challenge to your ears—daring if you like it, weird if the newness is a bit much for your taste. "Idiom II" starts with a counterpoint of saxophones that is precise (including perfectly coordinated, unison low notes that begin a bit of funk) but also pitched so that they sound deliberately out of tune. This is no mistake or just bad intonation by the players, as the composition eventually finds its way to a surging riff section that is punchy and thrilling like a big band chart from the 1950s but also using a slight dissonance in the arrangement that unsettles your ears. All of it is glued together by clear intention, badass funk grooving, and some improvisations (particularly by Hoffman and Garchik), that sound like they would have been impressive on a 1970s AACM recording.

One of the joys of Clockwise is that Webber is interested both in creating complex and longer-form structures that incorporate improvisation and in presenting short, intriguing compositions that are satisfying in under two minutes of listening. "King of Denmark II" is a long timpani roll from Smith over which Webber programs a set of cymbal squeaks and chimes. "Hologram Best" features the leader improvising on tenor saxophone over a fast toggle of funk patterns for trombone, piano, and eventually the whole band—but it's over in a flash. "King of Denmark III" is a beehive crescendo that rivets for 68 seconds and ends on a neat dime.

One of the most intriguing tracks is the title song, "Clockwise", which is both lyrical and off-kilter at the same time. The opening passage, a mysterious and blues-tinged section for bass, bass flute, and vibes, draws you in. It is insinuating and a slow build, with other instruments creeping in over time. It doles out some of the atmosphere of "jazz" (not just the long Webber improvisation, but also the feeling of slow swing, a possibly tapped toe) but then slides gently away from that feeling. Mitchell's piano takes over around the three-minute mark, improvising as the other instruments start to assemble a ballad-like ensemble sounds built in pastels and cushion. The composition transitions three more times—once into a stuttering composed section that brings in Smith's drums, then into a set of timbrally fascinating whole note sections for the horns that allows Smith to improvise, and finally into a brief staccato counterpoint that is harmonically but not otherwise related to the opening. The tune is not the manifesto of Clockwise, but it is another neat summary of how the new jazz manages to have its cake and eat it too, integrally: there are real "jazz" pleasures here, but they are one ingredient in a diverse and unforced vision of 21st century art music.

Anna Webber isn't new on the scene, but Clockwise still seems like a minor coming out party, a mature artist finding her voice. Whether you are interested in the future of (new) jazz or improvised music or new music or just fine, interesting music by whatever label, open up your ears and get ready for tomorrow.
By WILL LAYMAN

muzycy:
Anna Webber – tenor saxophone, flute, bass flute, alto flute
Jeremy Viner – tenor saxophone, clarinet
Jacob Garchik – trombone
Christopher Hoffman – cello
Matt Mitchell – piano
Chris Tordini – bass
Ches Smith – drums, vibraphone, timpani

utwory:
1. Kore II 3:51
2. Idiom II 8:38
3. King Of Denmark I / Loper 10:15
4. King Of Denmark II 1:55
5. Clockwise 6:57
6. Array 10:03
7. Hologram Best 1:39
8. King Of Denmark III 1:08
9. Kore I 6:24

wydano: 2019-02-28
nagrano: Recorded January 21 and 22, 2018

more info: www.pirecordings.com

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