Kategorie

Infernal Machines


  • Kod: NWAM017
  • Producent: New Amsterdam
  • Wykonawca: Darcy James Argue's Secret Society
  • Nośnik: CD
  • Cena: 69,99 zł
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Modern Jazz / Indie Jazz
premiera polska:
2017-09-20
kontynent: Ameryka Północna
kraj: USA
opakowanie: kartonowe etui
opis:

multikulti.com - ocena * * * * *:
Darcy James Argue, z pochodzenia jest Kanadyjczykiem, od wielu lat tworzy w Stanach Zjednoczonych, gdzie w 2003 powołał do życia Secret Society. Istniejący czternastu lat zespół wdarł się przebojem na jazzowy diapazon. Słynie z zamiłowania do perfekcji, drobiazgowości. Przez lata wypracował on oryginalną formułę: Secret Society nie jest bowiem typową, jazzową orkiestrą, lecz jak sama nazwa wskazuje społecznością muzyków, którzy wspólnie pracują nad jednolitym brzmieniem osiemnastu instrumentów.
Darcy James Argue’s Secret Society, to zespół inny niż wszystkie. No może z wyjątkiem grupy Matany Roberts - Coin Coin Orchestra. Ma na swoim koncie już kilka nominacji do nagrody Grammy w kategorii "Best Large Jazz Ensemble Album", po premierze debiutanckiej płyty "Brooklyn Babylon", magazyn Downbeat pisał o zespole, jako wschodzącej gwieździe jazzowej kompozycji, aranżacji i orkiestry.

Jazz Forum - ocena * * * * *:
Kto to jest Darcy James Argue? Z polskiej perspektywy niemal nikt. A jednak Jazz Journalist Association właśnie jemu postanowiło przyznać laur zwycięzcy w kilku ważnych kategoriach.

Pochodzi z Vancouver. Dziś działa w USA. Uczył się w Bostonie w mistrzowskich klasach Boba Brookmeyera, Marii Schneider i Johna Hollenbecka. To bezwzględna gwarancja jakości, ale pod okiem tych szacownych nauczycieli studiowało wielu, a jednak nie na punkcie wszystkich dziennikarskie gremia szaleją. Reakcje są euforyczne. 18-osobowy zespół zwany Secret Society to prawdziwa machina piekielna druzgocąca w jakiejś mierze nasze wielkoorkiestrowe przyzwyczajenia.

Argue skomponował wszystkie pomieszczone na płycie utwory, zaaranżował je i zamaszystym gestem pokazał, że młodego twórcę w pierwszej dekadzie XXI wieku nie ogranicza żadna stylistyczna cenzura. Jazz, rock, klasyka inspirują w równej mierze. Siła gitar kusi równie mocno co blask solowej trąbki (Jensen) albo ruchliwość saksofonu (znakomita Erica von Kleist). Jazzowa przeszłość działa nie mniej silnie niż Reichowska „Music for 18 Musicians” (liczebność zespołu nie jest przypadkowa).

I nie będzie żadnym odkryciem, że nie jest łatwo pisać o tak bogatej i esencjonalnej muzyce, tym bardziej, że to przecież płytowy debiut, zaledwie początek wielkiej, mam nadzieję, kariery.
autor: Maciej Karłowski

Editor's info:
A startling and mesmerizing blend of jazz, indie/experimental rock, and classical minimalism, the album is the first studio recording by a composer and bandleader who Hank Shteamer of Time Out New York says “draws on the full spectrum of modern rock, jazz and classical music with his band, Secret Society. Yet his complex, emotionally charged pieces handily transcend pastiche … the album ought to not only raise Argue’s profile, but also serve as a reminder that big-band jazz needn’t be a fossil.” This release, which takes its name from a John Philip Sousa quote about the dangers of music technology, features new definitive studio recordings of material Argue and the band have been developing since their first gig in 2005. Argue’s Secret Society is well-known for the virtuosity of the individual band members as well as the unique and groundbreaking sound of the compositions and the band as a whole, and Infernal Machines offers solos from his stable of incredibly talented band members, including trumpeter Ingrid Jensen, saxophonists Mark Small, Erica vonKleist, and New Amsterdam’s own Sam Sadigursky, and trombonists James Hirschfeld and Mike Fahie.

Infernal Machines has been called “addictive not only for its architecture, but for its fetching way with color” (DownBeat), “a wickedly intelligent dispatch from the fading border between orchestral jazz and post-rock and classical minimalism” (New York Times), and “maximalist music of impressive complexity and immense entertainment value” (Village Voice). James Hale has remarked that “Argue deserves his place alongside Schneider, Hollenbeck and other contemporary big band arrangers who are looking beyond traditional notions of what a large jazz orchestra should, and can, sound like” (Jazz Chronicles). Infernal Machines also garnered a 2011 Grammy nomination for Best Jazz Large Ensemble Album, among placement on over 70 best-of-2009 lists.

All About Jazz - ocena * * * * *
The reverb-drenched cajon rhythm, subtle electric guitar washes and lush horn refrains that open Infernal Machines, the studio debut of Darcy James Argue's Secret Society, introduce the sound of a big band like no other—proving that the critical acclaim lavished upon this eighteen-piece ensemble since their first gig in 2005 has been entirely justified.

Despite boasting an album title quoting John Philip Sousa on the dangers of technological music advancements, Argue's Secret Society nonetheless embraces the future, eschewing swing band revivalism in favor of a contemporary electro-acoustic approach. Drawing inspiration from classic stalwarts like the Thad Jones-Mel Lewis Orchestra as well as pioneering post-rock bands like Explosions In The Sky and Tortoise, Argue tastefully incorporates electric guitars, Fender Rhodes and electric bass into traditional big band instrumentation, extending the innovations of such visionaries as Don Ellis, Gil Evans and George Russell.

Straddling the pastoral opulence of Maria Schneider's Orchestra and the visceral brio of Adam Lane's Full Throttle Orchestra and Satoko Fujii's various big bands, Argue has succeeded at creating a magnificent chimera. His harmonically rich blend of contrapuntal horn voicings, atmospheric electronic textures and post-minimalist rhythms surpass the early fusion experiments of his predecessors, yielding a fully integrated sound world as current as it is timeless.

Honing his writing and arranging skills under the tutelage of legendary jazz composer Bob Brookmeyer, Argue balances the voluminous power of a big band with the subtle nuance of a small combo, revealing elegant charts bolstered by dramatic gestures. The braying horns and staccato electric guitars that accompany James Hirschfeld's brash trombone on the visceral finale to "Habeas Corpus" ascend to a logical climax rather than the blustery fanfare of a hackneyed coda. Embracing a full spectrum of moods, the anthemic riffs that accent Ingrid Jensen's probing trumpet solo on "Transit" dynamically contrast with the languid rustic scrim that descends on Sebastian Noelle's psychedelic electric guitar musings on "Redeye."

Periodically summoning the ensemble's full sonic potential, Argue conjures raucous electric guitar interludes, rousing horn swells and pulverizing rhythms to fortify these episodic tunes. His forte, however, is sketching impressionistic vistas such as the Mingus-like Mediterranean blues of "Jacobin Club" or the bucolic tone poem "Redeye." A masterful tunesmith, his dramatic sense of pacing borders on the cinematic, and his instinct for arranging multiple voices into colorful pitch sets exudes kaleidoscopic detail worthy of Ellington.

Secret Society combines rising stars and relative newcomers, but the real star is Argue. The only other contemporary composer who embraces the diverse possibilities of a band this size is Maria Schneider (a fellow Brookmeyer graduate). Although the halcyon days of the big bands are long past, Infernal Machines stands defiant, updating the big band tradition for the new millennium while presenting exciting possibilities for the future.
By TROY COLLINS


muzycy:
SECRET SOCIETY:
Darcy James Argue: composer, conductor, ringleader
Erica vonKleist: flute, alto flute, soprano and alto saxophones
Rob Wilkerson: flute, clarinet, soprano and alto saxophones
Sam Sadigursky: clarinet, soprano and tenor saxophones
Mark Small: clarinet, bass clarinet, tenor saxophone
Josh Sinton: clarinet, bass clarinet, baritone saxophone
Seneca Black: lead trumpet
Ingrid Jensen: trumpet
Laurie Frink: trumpet
Nadje Noordhuis: trumpet
Tom Goehring: trumpet
Ryan Keberle: trombone
Mike Fahie: trombone
James Hirschfeld: trombone
Jennifer Wharton: bass trombone
Sebastian Noelle: acoustic and electric guitars
Mike Holober: piano, electric piano
Matt Clohesy: contrabass, electric bass
Jon Wikan: drum set, cajon, pandeiro, miscellaneous percussion

utwory:
1. Phobos (11:01)
2. Zeno (07:14)
3. Transit (07:01)
4. Redeye (10:12)
5. Jacobin Club (10:55)
6. Habeas Corpus (10:57)
7. Obsidian Flow (09:40)

wydano: 2009-10-27

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