Catégories

West


  • Code: CF178
  • Producteur: Clean Feed (POR)
  • Code du producteur: 5609063001785
  • Prix: 59,99 zł
  • Recommander ce produit

Avant Jazz / Free Improvisation / Avant-Garde
premiera polska:
2010-08-09,
Wydawnicto Audiofilskie

kontynent: Ameryka Północna
kraj: USA
opakowanie: kartonowe etui
opis:

Płyta została wydana nakładem portugalskiej wytwórni Clean Feed, która wg. All About Jazz [dzisiaj najbardziej opiniotwórcze jazzowe medium na świecie] otrzymała zaszczytny tytuł All About Jazz Record Labels Of The Year 2009

multikultiproject.blogspot.com

LAWNMOWER to projekt sygnowany przez czterech muzyków: bębniarza Luthera Graya, saksofonistę Jima Hobbsa oraz dwóch gitarzystów - Geoffa Farinę i Dana Littletona. I właśnie na współbrzmieniu tych dwóch ostatnich instrumentalistów zasadza się siła tego projektu.
Luther Gray gra to podkład rytmiczny - on też jest nominalnym liderem tego zespołu. Ale jego zadaniem jest zakreślenie przestrzeni grania, określenie struktury utworów. On odpowiada za ich formę.
Natomiast unikatowe brzmienie kwartetu wypracowuje kto inny. Dwie gitary tworzą tu skomplikowaną tkankę - czasem odwołują się do gęstej faktury sitarowej muzyki z półwyspu Dekan (One), czasem do psychodelicznych odmian rocka (Glass), inny razem do współczesnych form komponowanych z minimalizmem w tle (Prayer of Death). Zawsze zasadza się to na jakimś ściśle zdefiniowanym pomyśle, który jest konsekwentnie rozwijany i realizowany.
Melodyjna strona utworów to już jednak domena saksofonisty. Znany z nagrań dla Silkheartu czy NotTwo - Jim Hobbs gra na alcie długą, ruchliwą frazą, ale robi to w sposób zaskakująco melodyjny. Ociepla to zdecydowanie brzmienie zespołu.
Piękna płyta, przed której nie powinni się lękać także zwolennicy bardziej mainstreamowych form.
autor: Marek Zając


Brand Magazyn 09/2010
Lawnmower to kawałek nowego wspaniałego świata w muzyce. Młody wiek członków zespołu (trzydziestolatkowie), bardzo niekonwencjonalny skład (perkusja, saksofon altowy i dwie gitary elektryczne), otwarta forma nijak mająca się do wszelkich gatunkowych podziałów i żywe emocje czające się do skoku.
Czterech muzyków, którzy fanom awangardy są zapewne doskonale znani nagrali płytę, która z pewnością powalczy w plebiscytach podsumowujących 2010 rok w światowej fonografii, oczywiście tej otwartej na nowe, twórcze, kreatywne.
Siedem kompozycji, z których każda przyprawia o zawrót głowy, rosnący dramatyzm otwierającego płytę utworu "One" i kolejnego "Glass", zapożyczona z americany ulotna delikatność "Prayer Of Death" i "I Love", siejąca spustoszenie kolektywna improwizacja pierwszej części "Giant Squid", dronowa elektronika w porywającym dialogu z przejmującym, melodyjnym altem Jima Hobbsa w kończącym płytę "Two" to tylko niektóre z bogatej palety wspaniałości krążka "West".
To płyta nie dla miękkich ludzi, zdezorientowanie słuchaczy, skurcz przepony, duszności, wypieki są wpisane w twórczość awangardową.
Czy mozna jednak na jednej płycie pomieścić free-jazz, indie-rock, freestyle, folk indyjski, post-punk, blues, americana, post-rock? Panowie z Lawnmower odpowiadają twierdząco. A najważniejsze, że grzybów w barszczu wcale nie jest za dużo, brawurowa próba stworzenia nowego języka powiodła się w stu procentach!
Chciałoby się powiedzieć - nawet jak ta kosiarka (lawnmower) trafi na kamień, to sobie z nim poradzi bez żadnego problemu!
autor: Tomasz Konwent


Editor's info:
"When I was younger most of my music listening involved a lawnmower and a Walkman. I've spent thousands of hours
pushing a lawnmower listening to, dreaming of, and thinking about music. Like most folks, I've been through many listening
phases as my musical interests shifted and expanded over the years. This band integrates the music I listened to as a kid, with the music I listen to now, and everything in between: lawnmower music."
[Luther Gray]


The music played by Lawnmower lives between two neighbor fields of the blues heritage: jazz and rock. It's not jazz-rock fusion, and it's not collage, but something else: jazz in permanent equation with rock, living from the process and not interested in finding a definitive result. This would be the easiest way, considering that the group is committed to presenting problems, not solving them. Jazz drummer Luther Gray picked his trio with the indie rock guitarists Geoff Farina and Dan Littleton (heard on the album "New Salt") and added brilliant avant-jazz luminary, alto saxophonist Jim Hobbs. Gray's purpose was to build a bridge between his past and present musical interests, and in doing so he accomplishes much more: something that makes entire sense in itself, not needing any justification. A former punk musician, Luther Gray established his name with the cream of the freedom fighters using the jazz idiom, Joe Morris, Anthony Braxton, Joe McPhee, Fred Anderson, Andrew White, Ken Vandermark, Sabir Mateen, Roy Campbell, Rob Brown, Steve Swell, and Taylor Ho Bynum, crossing the Boston, the Chicago and the New York scenes. Hobbs got specially noticed with Joe Morris, and his personal ideas about music are openly expressed in the surrealist jazz band he leads, The Fully Celebrated Orchestra. One from Karate, Gloryteller and Secret Stars fame, and the other coming from the folkish duo Ida, and The Hated, Farina and Littleton have folk-rock as the point of departure of their journeys, and jazz as the gasoline. The mix is explosive.

freejazz-stef.blogspot.com - * * * * 1/2:
When quickly listening to the new Clean Feed releases, this one struck me immediately as something special. Not only because of its unusual title and art work, but also because the line-up consists of two electric guitars, played by Geoff Farina and Dan Littleton, the alto of Jim Hobbs (of the Fully Celebrated Orchestra), and the drums of Luther Gray. The latter is the band's leader and composer, and last but not least by the wonderful music you hear on this album.

The first track starts with dual guitar single chord repetitive background (with some changes), over which Hobbs' wailing sax gets more passionate as the music progresses, with rhythmless drumming by Gray to support this: the effect is rock-ish and trance-inducing at the same time.
too
"Lawnmower", you say? What's the link? It so happens that Gray spent hours (thousands!) mowing lawns while listening to music of all possible genres in his headphones. Good for the musical education, bad for the ears. His music integrates these various influences.

The second piece is calm but with an underlying tension and intensity that is almost creepy. Again, the guitars and the drumming are full of control and restraint, playing the least possible sounds to generate the most effect, while the alto is full of sad emotions alternating with resignation and pain, with one guitar adding drama with some high feedback tones.

"Prayer Of Death", starts with some Bill Frisell-like country guitar, too soft and too easy, with simple chord changes and basic drumming, making me almost turn off the music, but gradually the screaming sax puts everything luckily in a different perspective. On "Giant Squids", weird guitar sounds and frantic drumming conjure up images of unknown and unwanted experiences of the deep, with only the sax doing something what can be called normal. And then it gets weirder all the time, more minimalist, more fragile and sensitive than the previous tracks, with barely vibrating sounds creating a fantastic sound texture on "Dan", but then bizarrely, like in a David Lynch movie, you get to hear "I Love", a slow dance, with sax-playing reminiscent of the 50s, if it were not for the contrasting guitar noise in the background.

And the long last track takes you into lawnmower territory - industrial noise shifting color and shade, with Doppler-effects, drone-like but with a sax that sings on top of it, like the tune from the headphone barely making it over the noise of the machine.

A major achievement of creative composition, careful sound arrangement, controlled and powerful playing. Highly recommended.
by Stef

All About Jazz:
Eminent progressive jazz drummer Luther Gray rekindled the spirit of his youth when he listened to music, via his Walkman, while mowing the lawn. With a dual-guitar and bass-less lineup, this ensemble professes a unique identity as it intertwines blues, rock and the perimeters of free jazz into a cleverly designed forum. Here, the musicians inconspicuously dish out an album that carries a mark of distinction

On "One," guitarists Geoff Farina and Dan Littleton launch the festivities with a psychedelic, blues-inflected motif, spiced with tremolo and a laidback groove. Alto saxophonist Gary Hobbs then ups the ante via his gutsy and yearning choruses, where blues and avant-garde jazz attain equal ground. It's an ideology that yields fruitful dividends throughout the program, although each track stands on its own. During the song's bridge, Gray diverts the pulse during his temperate solo spot, following his band mates' frenzied onslaught.

Lawnmower is a sheer delight and West is an album that should not go unnoticed.
by GLENN ASTARITA

muzycy:
Luther Gray: drums
Jim Hobbs: alto saxophone
Geoff Farina: guitar
Dan Littleton: guitar

utwory:
1. One
2. Glass
3. Prayer of Death
4. Giant Squid
5. Dan
6. I Love
7. Two

All tunes by Farina/Gray/Hobbs/Littleton Except "Prayer of Death" by Charley Patton and "I Love" By Tom T. Hall

total time - 01:06:25
wydano: 2010
nagrano: Recorded and Mixed By Andy Hong at Kimchee, July 17th, 2008
more info: www.cleanfeed-records.com
more info2: www.myspace.com/luthergray, www.geofffarina.com, www.myspace.com/fullycelebrated

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