John Zorn: Buer - The Book Of Angels Volume 31

Jewish / Ethno Jazz / Surf Jazz / Downtown scene
premiera polska: 2017-08-31,
Wydawnicto Audiofilskie
seria wydawnicza: Archival Series
kontynent: Ameryka Północna
kraj: USA
opakowanie: digipackowe etui
opis:
multikultiproject.blogspot.com - ocena * * * *:
Łatwo chwalić mistrzów, pisanie o kolejnych znakomitych płytach znanych i lubianych muzyków jest bezwysiłkowe, stąd między innymi zalew opisów ich dokonań. Ilość takich tekstów jest jednak odwrotnie proporcjonalna do ich wartości. Ale tak się dzieje, gdy przysłowiowe gwiazdki przyznaje się za skład zespołu i nazwisko lidera.

Brian Marsella, młody amerykański pianista, na którego po raz pierwszy zwróciłem uwagę przy okazji doskonałej 'Zion80' Jona Madofa (choć ta moja uwaga, przez wzgląd na kolektywny wymiar zespołu nie była przesadna) dołożył swoją cegiełkę, do rosnącej jak na drożdżach artystycznej piramidy, jaką w mojej ocenie jest zornowska 'The Book Of Angels'. Dobrał sobie niebylejakich kompanów, Trevor Dunn na kontrabasie i za perkusją Kenny Wollensen dają najwyższą warsztatową gwarancję i co ważniejsze, przez wieloletnią obecność w zornowskiej familii, ideologiczne przygotowanie, niebagatelne w jego przypadku.

Zorn pisząc drugą księgę masady, założył, że tworzy kompozycje nieobjęte ścisłą ochroną. Stąd ta konstrukcja obfituje w cegiełki, czasami kamienne bloki autorstwa prawdziwych rozbójników jak Marc Ribot, Uri Caine, Cyro Baptista, Medeski Martin & Wood, Jamie Saft, Garth Knox czy Craig Taborn. To rzadki rodzaj artystycznej odwagi, bo któryż z kompozytorów programowo chciałby, aby jego dzieła szarpano, miętoszono i naruszano. Zorn nie ma z tym problemu.

Tak jest i tym razem. Trójka wytrawnych instrumentalistów nie dokonuje liftingu zornowskich kompozycji, organizuje je niejako na nowo. Wnoszą swoje emocje, dopisują autorskie partie instrumentalne, nie tracąc z pola widzenia, melancholijnych, zakorzenionych w klezmerskich melodiach kompozycji. Marsella, który ma coś z Andrew Hilla i Dona Pullena, z kocią zwinnością zmienia dynamiczne napięcie utworów. Od instrumentalnych zawijasów, pełnej witalności i energii pianistyki lidera po momenty zadumania, wystudzenia.

'Buer: Book of Angels 31', to nie cegiełka, to raczej kolejny kamienny blok w zornowskiej piramidzie.
autor: Tomasz Konwent
Copyright © 1996-2017 Multikulti Project. All rights reserved


jazzandblues.blogspot.com:
Well versed in the music of John Zorn, the trio of Brian Marsella on piano, Trevor Dunnon bass and Kenny Wollesen on drums is the perfect group to interpret a collection of compositions from Zorn's Book of Angels. This is one for the jazziest albums in the series, with echoes of McCoy Tyner, Andrew Hill setting the scene for this collection.

"Jekusiel" opens the album with a strong trio performance, and everyone is playing in a very fast and percussive manner. The brash and intrepid piano soloing resonates through the music with thick elastic bass and insistent drumming in support and on the full band improvisation. Crisp-sounding drumming opens "Akzariel," leading to a rattling and flowing trio section. Storming keyboard work keeps the excitement building, and crafty drumming adds to the feeling of propulsion, making for a fast and ferocious performance. "Parymel" uses powerful bass to begin, and intensely hued piano playing and ripe percussion draw from a deep well of energy. The music is loud but impeccably played, taking the interesting melody and expanding upon it, creating music that is at the same time provocative and probing, with Marsella moving percussively up and down the keyboard and recalling the great Don Pullen. There is a haunted medium tempo theme to begin "Karkiel", which gives way to a tempest of piano, percussion and bass that delves deeply into the music's emotional resonance. This track uses dynamic tension to provide shades of light and shadow, from sudden slashes of piano to rippling cymbal play, then coming together with high-speed cooperation. "Tsirya" is another short and furiously played performance, with an excellent drum solo and then the trio coming together to create music that’s both vivid and self-reliant. The improvisation is brimming with energy and dizzyingly well performed and together the trio creates a boiling stream of endlessly fascinating rhythm. Another very exciting fast paced performance is "Zagin," with muscular piano abutted by the interplay of powerful bass and drums. Much the same is "Petahel," developing deeply percussive music from all three instruments and allowing the music to take energy from a choppy theme and ply it in a sparkling improvised section. This makes for a spirited performance, encapsulating a some fine drum soloing and trade-offs between piano and drums.

The music on this album is made by a trio of kindred spirits, and they make sounds that are inventive and inviting, using the memorable themes from the Book Of Angels and cooking up superb music from them.
by Tim Niland


All About Jazz - ocena * * * *:
How many angels are there? Alto saxophonist/composer John Zorn started his Masada Book Two, Book of Angels endeavor in 2005, with Astaroth: Book of Angels, Volume 1, by the Jamie Saft Trio. Thirty recordings and twelve years later, he offers up Buer: Book Of Angels, Volume 31, by the Brian Marsella Trio. A tune for every angel. That's a lot of angels.

The always adventurous and prolific Zorn, who reportedly wrote three hundred songs for his Book of Angels project in in three months in 2004, has a goal: that of bringing Jewish music into the twenty-first century, in hopes of seeding an evolution similar to the one that jazz experienced, from—using one example—Louie Armstrong to Miles Davis to Dave Douglas. More than anyone, he is keeping the form vibrant and dynamic.

Numerous artists and ensembles have contributed to the series, but the piano efforts in the Book Of Angels are particularly compelling, from Jamie Saft to Uri Caine to Craig Taborn, and now Brian Marsella—top level pianists immersed, solo or trio, in Zorn's musical world.

There's something about the pared-down aspect that seems to crystallize Zorn's vision. Marsella's Buer opens with "Jekusiel," a percussive piano riding a full-blown runaway train momentum. Jewish music, of the up-tempo variety, has a wonderful exuberance. "Diniel" is a pensive, dark-hued ballad, with Marsella leaving the powerhouse approach of the opener for a light touch and melodic delicacy, with bassist Trevor Dunn and drummer Kenny Wollensen—both prolific contributors to John Zron's Tzadik Records outings—weaving a nuanced backdrop. "Palalael" glows majestically; "Parymel" flies as free as a Cecil Taylor tune; "Bazazath" is a slinky, wee hour rumination.

Rumors about a wrap-up of Zorn's "Book Of Angel," Masada Book Two have roamed around. A Book Three is reportedly in the works. If Buer is the last of Book Two, it serves as a terrific wrap-up to John Zorn's decade-plus effort.
By DAN MCCLENAGHAN
Editor's info:
16 Masada compositions performed by a dynamic piano trio featuring Brian Marsella, the astonishing and passionate pianist from Banquet of the Spirits, Zion80 and The Flail. Joined here by the classic Masada rhythm section of Trevor Dunn and Kenny Wollesen, the performances are powerful, focused and incredibly varied. Each piece presents a different musical world, referencing McCoy Tyner, Don Pullen, Erik Satie, Conlon Nancarrow, Horace Silver,Lennie Tristano, Bill Evans, Bach, Bud Powell, RichardTwardzik, Debussy and many others.

Brian Marsella is an emerging artist in the improv music community. Born in Philadelphia, Pennsylvania,

Brian learned music by ear at age three from listening to his father, an amateur jazz musician,

play the saxophone and vibraphone. His first music loves were Tchaikovsky, Antonio Carlos Jobim, and Scott Joplin. At five, Brian started to study classical piano and gave his first public performance. Most of Brian's childhood was filled with the struggle of learning music and the exhilaration of performance. At age eleven, Brian had has first professional "gig." Throughout his teen years, Brian performed extensively around the Philadelphia area in a myriad of settings. A friendship at that time with Philadelphia bassist, Lance Walker, whom had worked with Patti LaBelle and Harold Melvin and the Blue Notes, opened Brian to the world of R&B, blues, funk, and fusion, working with bands The Dukes of Destiny, The Elgins, and countless others. While doing club dates at night and weddings on the weekends, Brian kept up his classical career as well.

At fourteen, Brian was the music director, conductor, and harpsichordist for the New Hope Performing Arts Festival's production of Mozart's opera, Bastien and Batienna, which received rave reviews. At sixteen, Brian gave his first full length concert at The James Lorah House, in

Doylestown, Pa. The concert included works of D. Scarlatti, Chopin, Brahms and the world premier of Peter Cody's Sonata for Clarinet and Piano. Throughout this time, Brian was studying classical piano with master, David Ancker.Brian went on to study composition at the Westminster Choir College, and piano performance at The Juilliard School and The Peabody Conservatory, having studied with teachers such as David Dubal and Robert MacDonald. After a year hiatus from music, Brian moved to NYC and received his BFA in jazz performance from the New School Jazz and Contemporary Music Program. There he studied with Richie Beirach, George Garzone, Reggie Workman, Junior Mance, Joanne Brackeen,

and LeAnn Ledgerwood. Since 2000, Brian has been a busy performing and recording artist, playing around the world with some of the world's finest musicians. Brian has been a member of Brazilian percussionist, Cyro Baptista's internationally acclaimed band, Beat the Donkey, since 2004. With Beat the Donkey, Brian has performed throughout the US and Europe, having played Central Park Summer Stage, Jazz at Lincoln Center, the Bethel Woods Jazz Festival, and the Planet Arlington World Music Festival. This past year, Cyro and Brian have collaborated in forming the band, Vira Loucos, with bassist, Shanir Blumenkrantz and drummer, Tim Keiper. The group has played Tonic, The Jazz Standard, and MOMA, to frenzied audiences. Their debut album will be out this fall.

Brian is also a founding member of long-time band of friends, Caveman. Caveman has played

over 300 shows in the US and Canada, including performances at the 2002 Endless Mountain

Music Festival, 2003 New Orleans Jazz Festival, and Camp Bisco VI. Caveman has self-released two albums, 'Before the World' (which features a track with friend, Matisyahu) and 'totem'. Brian has also toured with Tzadik recording artist, Eyal Maoz's, 'Edom'. With Edom, Brian has performed at The New York City Winter Jazz Festival, The Montreal Jazz Festival, and the oy!hoo festival in NYC. The group will be recording a new album for Tzadik this year and will be performing in Russia this fall.

Brian's other touring and recording credits include work with artists: Billy Martin, Calvin Weston, Marshall Allen, Odean Pope, Dave Fuczynski, Anat Cohen, Byard Lancatser, Jamaladeen Tacuma, Matisyahu, Trevor Dunn, Mary Halvorson, Briggan Kraus, Romero Lubambo, D.J. Logic, Taylor McFerrin, George Garzone, Rick Iannicone, Elliot Levin, Warren Oree, Dennis Irwin, Jason Smart, Edmar Castenada, Stephen Bernstein, Jon Madof, Erik Friedlander, Ches Smith, Baye Kouyate; and groups: Mad Cow, Big Tree, Leana Song, Pharoah's Daughter, UB313, Chris Tunkle Band, Circuit Breaker, Mother of All Bombs, Brentwood Estates, Exoskeleton, and Group Therapy.

muzycy:
Trevor Dunn: Bass
Brian Marsella: Piano
Kenny Wollesen: Drums

utwory:
01. Jekusiel
02. Diniel
03. Akzariel
04. Palalael
05. Parymel
06. Karkiel
07. Gadreel
08. Tsirya
09. Bazazath
10. Zagin
11. Avial
12. Camael
13. Petahel
14. Kadmiel
15. Sennoi
16. Gehue

total time - 56:06
wydano: April 21, 2017
nagrano: Recorded January 18, 2017 - January 19, 2017, at Bunker Studio, Brooklyn

more info: www.tzadik.com
more info2: www.brianmarsella.com