Kategorie

Radical Invisibility


  • Kod: 5806CD
  • On Stock
  • Producent: 577 Records (USA)
  • Wykonawca: Daniel Carter / Stelios Mihas / Irma Nejando / Federico Ughi
  • Nośnik: CD
  • Cena: 61,99 zł
  • Poleć produkt

Avant Jazz / Free Improvisation / Avant-Garde
premiera polska:
2019-08-19
kontynent: Ameryka Północna
kraj: USA
opakowanie: kartonowe etui
opis:

multikulti.com - ocena * * * * *:
Gorąca nowość prosto z istniejącej od 2001 roku nowojorskiej oficyny 577 Records. Gigant amerykańskiego free jazzu - Daniel Carter prezentuje zupełnie nowy kwartet. Poza liderem, grającym na saksofonach, trąbce, klarnecie, flecie i klawiszach usłyszymy jego wieloletniego kompana, drummersa Federico Ughiego. Skład uzupełniają gitarzysta Stelios Mihas i basistka Irma Nejando.

Album "Radical Invisibility" to kolejny cenny element w dorobku tego niedocenianego muzyka. Choć ma za sobą przebogate muzyczne cv, obejmujące współpracę z Sun Ra, Yo La Tengo, Billy'm Bangiem, Williamem Parkerem, Thurstonem Moore'm, Medeski, Martin, & Wood, Vernonem Reidem, Samem Riversem, Cecilem Taylorem, Davidem S. Ware'em, Alanem Silva, Susie Ibarra, Butchem Morrisem i wieloma innymi kreatywnymi artystami i zespołami, pozostaje wciąż muzykiem raczej mało znanym. Taki kaprys losu. Nie ma to jednak wpływu na poziom determinacji, z jaką konsekwentnie realizuje swoje koncepcje.

Słuchamy czterech kompozycji, w logicznym układzie następujących po sobie, które sprawiają wrażenie jednej, długiej wielowymiarowej improwizacji czwórki indywidualności. Z których każda wnosi jakąś wartość dodaną do brzmienia zespołu. Bez współzawodnictwa, wyścigów hartów, konkursu piękności, czy efekciarskiej erudycji. Pełna świadomość celu i panowanie na dramaturgią i strukturą narracji. Carter to muzyk wielce powściągliwy w sięganiu po muzyczne nowinki, przy tym kolejne jego nagrania ujawniają olbrzymią dawkę prawdziwych emocji, sięgając po różne instrumenty systematyczne poszerza środowisko brzmieniowe zespołu, zawsze atakując słuchacza frazami pełnymi emocjonalnej wagi, bez względu czy sięga po trąbkę, flet, saksofony, klarnet czy klawisze.

Wielkim zaskoczeniem jest udział w zespole Me’Shell Ndegéocello. Tak, bo pod nazwiskiem Irma Nejando ukrywa się nie kto inny, jak ta jedna z największych indywidualności na współczesnej scenie muzycznej, znana raczej z muzyki soul, r’n’b, jazz, reggae, funk, hip-hop.

Ich wspólne dzieło, wydane właśnie w barwach 577 Records "Radical Invisibility", to jedna z najbardziej ekscytujących płyt, jakie ostatnio zostały wydane!
autor: Mariusz Zawiślak
Copyright © 1996-2019 Multikulti Project. All rights reserved
autor: Mariusz Zawiślak
Copyright © 1996-2019 Multikulti Project. All rights reserved

Editor's info:
This is the debut album of a group dedicated to the invisible world. Some people operate invisibly by choice, some are invisible because of the nature of events in their life, some remain invisible and unknown against their will.

Legendary music master Daniel Carter came up with the title Radical Invisibility. He says about this project: “This group has signature attitude, and astonishing access to some of the enticingly key mysteries of musical creation… mood, atmosphere, recognizable group-sound identity. A graceful, but quite radical, radical, but quite graceful, subtle synthesis of a wide range of musical styles/genres/traditions/sensibilities. Divinely infectious”. In various sections of the music, the listener, may ask her/himself, "I know I’m somewhere notably specific and real, but how did I get here?”.

"Ms. Gertrude" from Daniel Carter: "Gertrude Stein, who again is not exactly invisible, though she’s hardly a household name for most people. I think she might qualify as invisible because her writing is so radical and “obscure”, therefore, basically very unpopular, so it’s like she’s virtually invisible."

"Diaspora Guinéa" from Federico Ughi: "dedicated to my friend Simon. He drowned while trying to cross over from Africa to Europe in a handmade boat. He wanted to bring his music project Diaspora Guinéa to Spain."

"weNyamombe and Gomukomu weSimbi" from Stelios Mihas: "it was in Mozambique during the 1940s that Dr. Tracey met musicians Katini weNyamombe and Gomukomu weSimbi. They were composer-poets as he describes and their texts "are an excellent resource of the unique qualities of African poetry. Combining joy with melancholy, political comments and protest with everyday gossip. They express the dynamic liveliness of the people, while carrying a universal spiritual message.” The composer works at first on the text (which is a highly regarded social service as there are no newspapers or other publications besides the village square where opinions can be shared). Then the composer starts working on the music, first by memory, then with the help of the xylophone. After presenting the music to the orchestra (which is made up entirely of local musicians), they work on the underlying theme together to create variations that make up the basic structure of the "ndogo" (the symphonic work). Then the choreographer comes and invents movements to the music until the work is complete. According to the writer the whole work is so rich in melody, rhythm & color that it contradicts the western idea of the necessity of notation & the limits of musical memory."

"Mrs. Myth" from Daniel Carter: "a creative variation of, or wordplay on, Mrs. Smith, i.e., Bessie Smith, who’s not exactly invisible, though maybe relatively invisible for most people."

somethingelsereviews.com:
As multi-instrumentalist Daniel Carter and drummer Federico Ughi quickly hop from one intriguing project to another, it’s already time to take a good hard look at a Carter/Ughi project less than six months after their last compelling collaboration. While New York United incorporates elements of hip-hop and Euro-pop from Djibril Toure and Tobias Wilner into their brand of avant-jazz , Radical Invisibility dwells on a state of mind instead of a deliberate attempt at alchemy. And that’s the state of being — voluntarily or otherwise — invisible.

Joined this time by guitarist Stelios Mihas and bassist Irma Nejando, the music is best described as “mysterious.” Mysterious in not being sure where the music is headed next and mysterious in the chords chosen. That feeling of not being able to fully grasp what’s unfolding is at the heart of the thrill of listening to it.

Only four tracks in all, with two four minute songs by Daniel Carter sandwiching two extended jams from Ughi and Mihas, the total music nonetheless feels holistic, of one piece.

“Ms. Gertrude” is a reference to the famous but still little-understood author Gertrude Stein, and after the swirl of electronic swirls that herald the song’s mystic character, Carter converses on soprano saxophone, absorbing Najando’s fat, lumbering bass line as Ughi plays his pulse with as much looseness as possible while maintaining some timekeeping.

Ughi’s “Diaspora Guinéa” feels almost a straight continuation of “Gertrude,” although now the piece’s composer is often improvising right alongside Mihas and Carter, with Nejando essentially leading the group through what amounts to a group jam.

The other long performance comes from Mihas; the group dynamic on the simmering groove “weNyamombe and Gomukomu weSimbi” is similar to that of early Weather Report for the first five minutes, eventually breaking down and emerging from an electro-acoustic haze are deliberations by Mihas’ guitar and Carter’s flute. But soon, everyone is improvising impressively as a unit.

And finally, “Mrs. Myth,” a wordplay on blue singer Bessie Smith. The tenor sax of Daniel Carter sustains notes in an impactful way, but the Nejando/Ughi rhythm section is supple as it sets a foundation that allows Carter and Mihas do just about anything they wanted and not upset the vibe of the song.

Irma Nejando, by the way, is herself another manifestation of invisibility; the name is an alias for an actual female bass player who is obviously no neophyte on the scene — Me’Shell Ndegéocello, is that you? Like the music itself, that’s something else to ponder.
by S. Victor Aaron

muzycy:
Daniel Carter - Saxophones, Trumpet, Clarinet, Flute, Keyboard
Stelios Mihas - Guitar
Irma Nejando - Bass
Federico Ughi - Drums

utwory:
1. Ms. Gertrude 4:05
2. Diaspora Guinea 14:27
3. weNyamombe and Gomukomu weSimbi 20:07
4. Mrs. Myth 4:28

wydano: July 26, 2019
nagrano: Recorded January 13th, 2018, at Sear Sound, New York City

more info: www.577records.com



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