Kategorie

Phalanx Ambassadors


  • Kod: PI81
  • On Stock
  • Producent: Pi Recordings (USA)
  • Wykonawca: Matt Mitchell
  • Nośnik: CD
  • Instrument lidera: piano
  • Cena: 66,99 zł
  • Poleć produkt

Avant Jazz / Free Improvisation / Avant-Garde
premiera polska:
2019-08-07
kontynent: Ameryka Północna
kraj: USA
opakowanie: digipackowe etui
opis:

multikulti.com - ocena * * * * 1/2:
Matt Mitchell, muzyczny kameleon legitymujący się nowojorskim paszportem, wychowanek Tima Berne'a, Dave'a Douglasa i Steve'a Colemana rozwija swoją koncepcję operowanie poza konwencjami „jazzowymi” - i nie chodzi tylko o swobodną improwizację, ale o jej wypadkową i oryginalnych koncepcji na pograniczu jazzowej tradycji, muzyki klasycznej, współczesnej elektroniki, awangardy, użyźnionych jego własnymi pokręconymi i wybuchowymi pomysłami.
Na najnowszej płycie "A Pouting Grimace", jazzrockowa forma spod znaku "Bitches Brew" Milesa Davisa (kompozycje bez ustalonego tempa i wyraźnej struktury harmonicznej) idzie pod ramię z połamanymi rytmicznie kompozycjami a'la King Crimson. Kombinacja wyrazistej elektrycznej gitary, wibrafonu/marimby i rockowej perkusji, przywodzi z kolei na myśl najlepsze jazz-rockowe momenty Franka Zappy. Mamy tu zarówno marzycielskie, impresjonistyczne kompozycje ("S S G G"), jak i napędzane maniakalną wręcz rytmiczną energią Kate Gentile ("Stretch Goal"). Warto przesłuchać płytę wielokrotnie, a kolejne ukryte pokłady michellowskich wspaniałości odsłonią się przed nami bezapelacyjnie.
Lektura płyty "Phalanx Ambassadors" to jakby operacja na żywym organizmie. Na naszych oczach/uszach kompozycje zapisane w partyturze rozpadają się na kawałki, odsłaniając swój fundament w nieoczywisty sposób. Czujny słuchacz podchwyci delikatną sugestię narracyjną zawartą w samotnym dźwięku wibrafonu, współbrzmieniu gitary i klawiszy, czy rytmicznych pajęczynach zestawu perkusyjnego. Przyda się tutaj abstrakcyjna wyobraźnia słuchacza, któremu nieobce są dokonania choćby dodekafonistów. Mitchel dowodzi, że ponadczasowe piękno muzyki ukryte jest w subtelnych rysach architektonicznych, owej konstrukcji w procesie, której nie sposób przewidzieć. Nie dziwi zatem, że płyta zbiera bardzo wysokie noty, trafiając na short listy najlepszych jazzowych nagrań a.d. 2019 dziennikarzy na całym świecie.
autor: Jarosław Lisiak
Copyright © 1996-2019 Multikulti Project. All rights reserved

Troy Dostert z All About Jazz tak kończy swoją recenzję (. . .) "Phalanx Ambassadors" to najbardziej wyrafinowana i skomplikowana muzyka, jaką dotąd stworzył Matt Mitchell. Dla osób śledzących jego karierę nie jest to jednak zaskoczenie, mamy w końcu do czynienia z jednym z najbardziej nieustępliwych, innowacyjnych pianistów ostatniej dekady, który zadziwi nas jeszcze niejednokrotnie".

popMATTERS dał płycie 9 na 10. Recenzent portalu tak pisze o płycie (. . .) Muzyka dociera do słuchacza z taką energią i mocą, że reagujesz trochę tak, jakbyś słuchał Led Zeppelin. Kim Cass na elektrycznym basie i Matt Mitchell na klawiszach zaczynają solowe partie, każdy z w oparach kudłatych melodii, napędzanych subtelną, konsekwentną pracą perkusistki Kate Gentile. Kiedy Patricia Brennan wyłuskuje na marimbie prowadzący narrację rytm, Kate Gentile oplata go ciepłymi, szerokimi dźwiękami swojego instrumentu. Za moment gitarzysta Miles Okazaki z przytupem wbija się w tę marzycielską opowieść, dekonstruując ją na chwilę. Jednak rytmiczny fundament, którym jest drummerka Kate Gentile staje na wysokości zadania, porządkując całość wyrazistym rytmem. Wreszcie zespół gra melodię z kluczem wiolinowym, która jest precyzyjna i wyraźna, kontroluje wybuchową energię, z gitarą, wibrafonem i klawiszami splecionymi razem, jak lina przymocowana do pierścienia życia (. . .)

Mike z Avant Music News tak kończy swoją recenzję - "Phalanx Ambassadors" Matta Mitchella trafią na wiele list best-of-2019, na moją także"

Lee Rice Epstein w maksymalnie wysoko ocenionej recenzji (* * * * *) na freejazzblog pisze (. . .) Na całym albumie Mitchell gra dźwięcznie i niezwykle erudycyjnie - nie dlatego, że muzyka jest zdumiewająco rozwarstwiona, ale jeśli poszczególne "warstwy" muzyczne reprezentują różne obszary tonalne, pomysły pojawiają się, co rusz i biegną od jednego do drugiego, bezpardonowo przełamując kolejne domniemane granice (. . .)

Editor's info:
Phalanx Ambassadors is the latest release from pianist/keyboardist/composer Matt Mitchell, whom PopMatters calls “the most complete and well-integrated improvising pianist of the last 15 years.” They also called his prior release, A Pouting Grimace, “brilliant and varied… animated by breathtaking compositional imagination and startling arrangements.” His bold new release features works that burst forth with intricate detail, featuring precise execution of complex polyrhythms and irrational meters, adventurous harmonic exploration and otherworldly melodies. While rigorously structured, the music leaves ample room for varied layers of improvisation. The eponymously-named band – with Mitchell on piano and keyboards, Miles Okazaki on guitars, Patricia Brennan on vibraphone and marimba, Kim Cass on bass, and Kate Gentile on drums, along with producer David Torn – immerse themselves completely in Mitchell’s idiosyncratic sound world, creating music that eludes genre boundaries and comparisons.

freejazzblog.org - ocena * * * * *:
I have listened to Phalanx Ambassadors, the latest from pianist Matt Mitchell, an absurd number of times for an album that’s only been out a few months. Featuring a newly recorded quintet—with guitarist Miles Okazaki, Patricia Brennan on vibes and marimba, Kim Cass on bass, and Kate Gentile on drums—Phalanx Ambassadors promises a lot from the get-go, and more than lives up to that promise.

Mitchell's vibrancy and dexterity remind me often of Don Pullen, who also displayed a thrilling and restless creative spirit. Ahead of the album’s release, he made a few enticing remarks on social media that prompted me to reach out for, well, something not exactly an interview or conversation, but we did exchange emails, where he gamely provided some extra-textual commentary. Rather than share it here in a standard Q&A format—which is not how it flows, anyway—I wanted to interpose some of Mitchell’s responses alongside my thoughts about the album.

When we started emailing, I had just seen Mitchell on tour with Okazaki and his Trickster band. As readers likely know, these are two impossibly talented and warm players. Kim Cass and Patricia Brennan both played on Mitchell’s previous album, A Pouting Grimace, and many of us really enjoyed Gentile’s debut, Mannequins, which Mitchell played on. As a quintet or sextet, they’ve all played together for a few years, occasionally as the rhythm-section-only Phalanx Trio, and collectively their connections extend backward for years. That’s critical to hearing the album, I think, as it flows brilliantly from track to track. Additionally, the album was produced by David Torn, who gives the album its particular brightness.

As a follow-up to A Pouting Grimace, I was already hyped to hear what the album sounded like, when Mitchell tweeted: “If A Pouting Grimace was more of a ‘recording project’, this is a band dissecting material, w studio spices… More ‘grooves’, overall aggression and drive, also more tonally skirting diatonic-ish realms, relatively speaking. Some overt ‘melodicism’.” I had seen the cover art, and (incorrectly, it turned out) assumed the two albums might share some sensibility, aside from the name on the cover.

On the album, you can definitely hear how demanding the music would be, especially over the course of several close listens, but that belies how much fun the music is. Opener, and seed piece, “stretch goal” bursts with something like a thrash-funk undercurrent to its jazzier upper waters. Here, Gentile uses cymbals much like Tyshawn Sorey or Marcus Gilmore, filling out the percussion layer with a tonally rich mix. And again, Torn’s production does a wonderful job directing listeners’ attention.

The richness of the band and studio come to the fore in “phasic haze ramps,” where melodies and various motifs and references circle and recur, interposed with some excellent improvisation, over the course of a 15-minute, somewhat loose composition. The result brought to mind forage, Mitchell’s amazing album-length cover/collage of Tim Berne’s music. The collage-type work happening on Phalanx is wildly different, however, with scraps of motifs and rhythmic concepts recurring from song to song in ways that really highlight the genealogy in Mitchell’s compositions. And throughout the album, Mitchell plays with voicing and echoes across multiple planes—not that the music is stratified, per se, but if the planes represent various tonal areas, ideas reach from one to another, bleeding between implied boundaries. As mentioned, there are already 3 chromatic instruments in the core group, but the liner notes mentioned both mellotron and Prophet 6, which literally amplify this effect:

Digging into the album more deeply, I had the feeling there were fewer, not more, guardrails in place, as far as the composition was concerned. That’s partly due to an inherent (though possibly not intentional) deception in the music, which is that improvisation and soloing is often one component of several composed areas, all simultaneously bouncing off each other. Following “stretch goal,” “taut pry” and “zoom romp” take this to the extreme, compressing the band into sub-2 minute compositions. As he does later on, “mind aortal cicatrix,” Mitchell adds mellotron on both tracks, which lightly shades in some fusion aspects of the music. But that more or less falls away once “phasic haze ramps” gets started. The lengthy centerpiece of the album, it’s one of several that got me thinking of Mitchell as a kind of Oulipian composer. (For those unfamiliar, Oulipo is a school of thought that imposing restrictions consequently frees a writer to produce more inventive and experimental work (see: Queneau, Perec, Matthews, Calvino).) But that’s not exactly what’s at play here, although my questions about this opened Mitchell up to talk about the genealogy of the Phalanx book.
By Lee Rice Epstein

avantmusicnews.com:
Pianist Matt Mitchell brings a steady cerebralism to every project that he is a member of, whether as composer, side-man, or leader. His recent work with Dan Weiss, Tim Berne, Anna Webber, and Brian Krock, to just name a few, are stellar examples of what he is capable of in various roles. Thus, when he releases a new album, giving it a listen or two is immediately on the agenda.

Unlike 2017’s A Pouting Grimace, which was a large-ensemble effort, here Mitchell pares it down to Miles Okazaki on guitar, Patricia Brennan on vibes and marimba, Kim Cass on double bass, the great Kate Gentile on drums, and of course himself on piano. But even with a group of this size, Mitchell coaxes out an unusually dense and rich sound.

Phalanx Ambassadors hits the ground running with Stretch Goal, a propulsive piece lead by Mitchell and Gentile with Cass giving his bass a brutal workout. Mitchell provides busy chording and tense runs, joined by Brennan in the latter. This is followed by the short Taut Pry, where Okazaki’s off-kilter approach is reminiscent of Thinking Plague, a group in which Mitchell was a member.

As the album progresses and the tracks get longer and more diverse, the tempo and intensity ramps down a notch or two. Mitchell has surrounded himself with formidable partners and each musician is given room to explore. Another highlight is Be Irreparable, which has a rhythmic pattern so involved that just listening to Mitchell, Cass, and Gentile work their way through it would be enough. But Brennan joins in with contrapuntal lines, leading to an information-rich but controlled apex.

The hardest thing about trying to digest this recording is placing it in some form of historical context. Modern creative jazz with classical etudes and informed by progressive rock? Perhaps. Regardless, it is a compelling and singular workout for the ears. Comparisons are difficult but recent big-band releases by Weiss and Braxton are good places to start.

Prediction: Phalanx Ambassadors will score high on many best-of-2019 lists, including mine.
by Mike

popMATTERS - ocena: 9/10:
The new jazz coming out of New York in 2019 is rich and fascinating, complex and varied, brilliant and... But doesn't it also seem fussy and academic at times? Doesn't it too often fail to dance, to move your ass, to punch you in the gut or heart? Isn't this the problem with so much "jazz" these days? It speaks to the "creative music" geeks and few others.

Not Phalanx Ambassadors, the latest band and recording by pianist/synthesist Matt Mitchell. This is a New Jazz album that also rocks.

Mitchell has always had a bad attitude. Sure, he has all the straight-ahead, bop-and-beyond jazz chops that a pianist in New York can have these days. Mitchell proved that tastefully and creatively in his years with the Dave Douglas Quintet. But then he would go out and make a recording of piano/drum duets with Ches Smith (Fiction, 2013) with titles like "Dadaist Flu" and a sense of ordered anarchy to it. On Vista Accumulation (2015) he recorded with a sax-plus-rhythm section band yet broke all the rules along the way, not to mention calling a tune "Utensil Strength". His last recording, A Pouting Grimace (2017), could swing but also crackled with Prophet synthesizer, glockenspiel, double-reed instruments, and a sense of growing abandon. It was his most varied and daring work.

Phalanx Ambassadors is better and, wow, much easier to feel. The new recording is more focused and rich in edge. Mitchell uses the same rhythm section: Kim Cass on bass and Kate Gentile on drums and percussion. The quintet is rounded out by two other highly percussive players: Miles Okazaki on guitar and Patricia Brennan on vibraphone and marimba. Mitchell still uses his Prophet in places, but he is truly the band's other percussionist on piano. The result is a band that rarely distinguishes between rhythm and melody. They are a group always in the process of pushing the music with urgency, even when the tempo is slower.

The partnership between Mitchell and Gentile is central to the chemistry in this band. (Mitchell was key to Gentile's first, brilliant recording, Manneiquins from 2017, and she has been doing the cover art for her and his recent releases.) Gentile can be a power drummer, though she is always thinking orchestrally, arguably a modern Elvin Jones or Tony Williams. On the opening track, "stretch goal", she comes out of the gate with ferocious energy, placed very much out front in the mix (by David Torn, the wonderful guitarist and producer who has worked with David Bowie, Madonna, Meshell Ndegeocello, Bill Bruford, and many others). Is the time signature of the tune unusual, tricky? Sure, and Cass, Okazaki, and Mitchell play a complex thrumming bass line together that amounts to the song's melody.

But your ears and your body do not care about the complexity because the music is simply coming at you with such energy and power that you react a bit as if you were listening to Led Zeppelin. Cass and Mitchell solo first, each with a shaggy melodicism that is complemented by Gentile's subtler but still insistent time behind them. When Brennan jumps out for a vibes solo, Gentile turns up the heat more, matching a percussion instrument with more percussion. Then Okazaki begins a wild statement that breaks up into distortion as Gentile gets even more thundering. Finally, the band plays a treble clef melody that is precise and clear above this energy, with guitar, vibes, and piano twining together like the rope attached to a life ring.

This combination of wire-tight guitar, vibes, and power drumming will surely remind some listeners of the music of Frank Zappa, who loved to trick out his buzzing jazz-rock compositions with chiming mallet instruments. Mitchell's use of Brennan and Gentile, however, doesn't have the shine of some kind of progressive, orchestral rock—it is usually more urgent and frayed about the edges. But the similarity is in how these instruments express both a tribal throb and the precision that serves some very sophisticated melodic writing.

Not everything on Phalanx Ambassadors is as kick-ass and pulsing as that opening track. Indeed, the longest performance, "phasic haze ramps", is a more contemplative ballad structure that mostly unfolds as a dreamlike collective improvisation. Gentile remains critical (and, arguably, still in Elvin Jones territory) as she sculpts the sonic landscape with her cymbals. Vibes, guitar, and piano begin by interweaving lines in a dreamy fashion without a set tempo or clear harmonic structure. Still, the music is lovely and tonal, centered around a key or scale much in the manner that Miles Davis's early 1970s bands (as on Bitches Brew) were both exceedingly free but still not overly dissonant. But between the four and five-minute mark, the band starts to coalesce in moments around melodic motifs that sound predetermined. As quickly as these nodes appear, the players slide off into collective improvisation again, their ears burning for the next chance to (briefly) come together. This is modern music with modern sounds that also feels tied back to the loose-but-together playing of Ornette Coleman and Don Cherry, albeit getting there via the music of more contemporary masters such as Henry Threadgill and Steve Coleman.

The shorter pieces, however, tend to get down to thumping business with meandering. Both "taut pry" and "zoom romp" are under two minutes. The former uses a herky-jerky groove to support a melody that feels like it is perpetually ascending as Okazaki's guitar and Mitchell's synth play long notes that circle as they rise, only to circle back lower again. The rhythm section is key here. Gentile's drums are, again, both precise and merciless as they anchor the operation of the whole band. "zoom ramp" is grounded in her version of pure 4/4 rock, which is to say that even as the backbeat lands steadily, Gentile syncopates all kinds of other accents explosively. Mitchell's composition is nimble and tricky, but every detail of it works with the groove to create simultaneous feelings of killer pocket and surprise. Cass's bass flies through the cracks at times, bubbling with improvisation, and Okazaki's tone is feral and tough, as the piano and vibes chatter freely. But at merely 1:26 it is all as tight as a wrestler's abdomen.

The last three performances on Phalanx Ambassadors carry the music across its full range, from the more abstract to the earthy, from the something deliberate and composed to something that dances with delight. That isn't a value judgment, exactly, but listeners who want to hear something in the New Jazz that connects with them from the neck down need only show a bit of patience. "s s g g" is a through-composed melody that finds Mitchell's piano and Brennan's vibes in a unison line, also colored by Okazaki's acoustic guitar. The performance goes almost out of its way to avoid any sense of groove, but it also unfurls as a concerto for Gentile, who is improvising continually and gently, using an augmented drum kit that rings with various bells and other percussion elements. Cass provides a slow bottom, recorded with gravity, balancing the whimsy of the percussion. The composition is capped by a moment of flute-like synthesizer along with the guitar, a flourish that leads us directly into "Be irreplaceable".

This performance seems similar at first, but it is more restless, with vibes and the right hand of the piano still in unison on a craggy, semi-tonal melody, but now Okazaki is playing electric in a syncopated line that is doubled by Mitchell's left hand and Cass's acoustic bass. Gentile is all rolling toms and fizzing cymbals, but the piece is building to a groove that is actually more powerful than the overt rock feels in those short tunes. The percussive melody line, the thrust of the bass tones, and Gentile's gathering storm are brought together by a rippling synth part (hinted at by "s s g g"?) until all of it fuses into a dancing double-time. From an abstract beginning, the composition—which seems to contain little improvisation—achieves something like "swing", but without any jazz cliche, something like the dance impulse in Afro-Cuban music but without the clave, something like the unmechanical backbeat of rock 'n' roll, but generated from a different place. This new music, in short, goes from seeming studied to being felt.

The last performance, "mind aortal cicatrix", recaps everything on the album, a recursive wonder that starts with careful arpeggios that begin to fragment and pull apart, shifting the band into a looser time feel that sure feels like a swaying swing. Brennan solos in what sounds like a rippling overdub of both vibes and marimba as the band turns rubbery and smooth. Mitchell's piano solo follows over this groove, though it is set in counterpoint to a synth screech that ups the tension leading into another composed section and then Okazaki's improvisation, which also sounds like twinned guitars in a jagged counterpoint. By this point, Gentile's drums are in a fervent polyrhythmic lather, but one that feels grounded in good old four-four time.

Which is to say that Phalanx Ambassadors ends much as it began: rocking, getting down even as the instruments all come together one more time in an intricate line that demonstrates Mitchell's giddy melodic imagination and his ability to orchestrate something that makes a quintet sound like an army of energy. The collective impression—when you're through hearing the full sequence of the recording—is that you've just heard Eric Dolphy's Out to Lunch supercharged by George Clinton's Funkadelic or the Bach cello suites performed backward and upside down by Cecil Taylor, Jimi Hendrix, and Tony Williams, descended from musical heaven. This, finally, is the New Jazz cut free of its No Fun Here smarty-pants-ness and soaring into some joy. This music is sexy as well as smart.

Miles Okazaki brings a flamethrower to the date, even though he is subtle. Matt Mitchell swings some and thunders the keys too. Kate Gentile is larger than life in powering Mitchell's dazzling compositions into a punk-ish abandon. You can feel the energy of this band in your bones even when you can't count the time signature. Phalanx Ambassadors is proof that creative music has an id. Listen in to feel contemporary jazz gather power and a purpose.
by WILL LAYMAN

jazztrail.net:
Visionary keyboardist Matt Mitchell has been contributing extensively to make our modern jazz times richer. In order to tackle seven demanding compositions that relate to one another in very peculiar ways, he gathered the horn-less quintet Phalanx Ambassadors, which includes guitarist Miles Okazaki, vibraphonist/marimbist Patricia Brennan, bassist Kim Cass, and drummer Kate Gentile. These intrepid musicians had to possess exceptional qualifications to deal with such a rigorous structure and instrumentation, including advanced reading skills. Sharing the same taste for innovation, bassist and drummer had been gigging with the pianist as Phalanx Trio, and joining forces in the Mitchell/Gentile co-led project called Snark Horse.

A perpetual vehemence enwraps “Stretch Goal”, which begins with the drummer stressing urgency while a certain mystery arises from the complementary instrumentation produced in the lower registers. Cass puts a lot of energy in his soloing effort, while Mitchell swings in his very own way, blending wild patterns and multi-shaped phrases with an impeccable articulation. Brennan and Okazaki also bring their special sounds to light, culminating a sequence of improvisations that comes in reverse order from what is normally expected.

Whereas “Taut Pry” is relentlessly polyrhythmic, “Zoom Romp” is daring, tossing ideas around a rhythmic core that relies on some rock musculature and M-base attitude. Both pieces last less than two minutes, unfolding like a diagrammatic juxtaposition of odd patterns, and their tonal approach differs from “ssgg”, a spacious, chilled-out sort of soundtrack suitable for an abstract, surrealistic tale with accomplished integration of acoustic guitar, piano, vibes, and well-measured bass notes. On her part, Gentile implants extra rhythm in the sonic frame, employing rattling sounds, cymbal color, and sharp resonant sounds as produced by a woodblock.

Almost comparable with a restless mind unable to stop thinking in circles, “Be Irreparable” seems to be struggling to settle down. The haunting textures, usually vague and soft but having a rocking propulsion navigating underneath, are symptomatic of both unsubstantial and worldly natures. Also gaining rock expansion, “Mind Aortal Cicatrix” delivers fancy cinematic orchestrations, forging thrilling polychromatic pathways with marimba and mellotron in the mix. Shifting tempos and moods are frequent practices and the group addresses the transitions with refinement. This is the kind of composition that puts on display striking individualism coupled with rhythmically solid ensemble playing.

The nearly 16-minute “Phasic Haze Ramps” brings a mix of swirling psychedelia, sophistication, and elaboration. An optimistic utopia built with ostinatos and other odd-riffing expressions skimming over routine curved surfaces. The improvised timeframes never feel mechanical, but they're rather graspable in the sense that we feel that humans are playing it. It all ends mischievously and without a warning.

Prone to polyrhythm and unconventional textural work, Mitchell thinks out of the box with his music sounding accordingly. You may allege this is all very challenging and often dense, but let’s face the facts: is it not sufficiently creative to make you plunge headfirst into its insoluble aural puzzles?
by FILIPE FREITAS

jazzarium.pl:
Matt Mitchell to sprawdzony partner wielu liderów, z którymi począwszy od 2009 roku nagrywał, koncertował i wciąż jest bardzo aktywnym muzykiem na jazzowej scenie Nowego Jorku. Warto wymienić najważniejsze zespoły, które pianista zasilił swoim pianistycznym talentem i umiejętnościami zespołowej współpracy, są to: Steve Coleman i Five Elements, Dave Douglas Quintet, Bird Calls Rudresha Mahanthappy, Darius Jones Quartet, Claudia Quintet, Ralpha Alessi Quartet, Simple Trio Anny Webber, We All Break Chesa Smitha, Trio Dave Kinga, Duo Tim Berne i Matt Mitchell i ostatnio Bagatelles Johna Zorna. Ponadto jest wykładowcą w nowojorskich School for Improvisational Music oraz New School.

W ciągu zaledwie 10 lat Matt Mitchell stał się wyrazistą muzyczną osobowością w świecie nowojorskiej awangardy. Pianista doskonale sprawdza się zarówno w klasycznym jazzowym zespole jak i formach bardziej eksperymentalnych, krzyżujących ze sobą muzykę elektroniczną i akustyczną, otwartą improwizację free z kompozycją. Jest niezwykle muzykalny i szczerze oddanym bezkompromisowej pracy na rzecz współczesnej muzyki improwizowanej. Jego najnowsza, czwarta płyta wydana pod własnym nazwiskiem, przynosi 7 kompozycji i 45 minut muzyki nagranej w elektro-akustycznym kwintecie.

Album „Phalanx Ambassadors” jest „zdecydowanie najbardziej wymagającą muzyką, jaką kiedykolwiek napisałem dla zespołu” mówi Matt Mitchell. Dodam, że także wymagającą w odbiorze - to techniczna fuzja elektro-akustycznej i bardzo zespołowej improwizacji poddana rygorom muzycznej arytmetyki, w której trudno będzie nam odnaleźć przekaz o bardziej emocjonalnym zabarwieniu. Płyta sprawia wrażenie sumy dotychczasowych doświadczeń muzycznych pianisty, jest tu wiele brzmień wynikających z współpracy Matta z Timem Berne, które jednak nie zaangażowały mnie do tego stopnia co twórczość jego dotychczasowego mentora. Wyraźnie słychać ogrom muzycznej erudycji pianisty, a z drugiej strony brak mi tu czegoś oryginalnego. Oczywiście to tylko osobiste odczucia, które powinienem zostawić na boku, jednak słuchając tych nieustannie zapętlających się dźwięków, karkołomnych podziałów rytmicznych, częstych zmian tempa, skomplikowanych melodii i zespołowych pasaży, przez cały czas mam wrażenie, że gdzieś to już wcześniej słyszałem. Jest tu trochę jazz- rocka w stylu Franka Zappy, a także coś z muzyki Henry Threadgilla, wiele pomysłów przypomina aranżacje Johna Hollenbecka, a chwilami także Johna Zorna, tyle że teraz wszystko jest bardziej skondensowane i perfekcyjnie wykonane. Nowa muzyka Matta Mitchella brzmi futurystycznie, jakby wygenerowana przez jakiś potężny muzyczny procesor, jest bardzo intensywna, niezwykle skupiona od strony wykonawczej, chwilami bliższe jest to muzyce rockowej niż jazzowej. Bardzo szanuję takie poszukiwania i współprace, tym bardziej, że gra i brzmienie zespołu stoi na najwyższym poziomie, a jednak słuchając płyty chwilami czułem się znużony. Po kolejnych odtworzeniach muzyka nie przestaje intrygować, jednak wciąż brakuje mi w niej czegoś bardziej osobistego. autor: Andrzej Kalinowski

muzycy:
Matt Mitchell - piano, Mellotron, Prophet-6
Miles Okazaki - electric and acoustic guitars
Patricia Brennan - vibraphone, marimba
Kim Cass - acoustic and electric bass
Kate Gentile - drums and percussion

utwory:
1. Stretch Goal 6:25
2. Taut Pry 1:45
3. Zoom Romp 1:26
4. Phasic Haze Ramps 15:53
5. S S G G 5:00
6. Be Irreparable 5:43
7. Mind Aortal Cicatrix 9:24

wydano: May 31, 2019
nagrano: Recorded at The Clubhouse, Rhinebeck, NY, December 13-14, 2018

more info: www.pirecordings.com



Fiction
59,99 zł
Fourteen
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Nuntium
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Synergy
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Morphogenesis
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Divided by 4
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Trouble Hunting
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Moving Still
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Affinity
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A Pouting Grimace
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3 Times Round
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Coarse Day
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Clockwise
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Passion
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Starebaby
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