Will Holshouser with Bernardo Sassetti: Palace Ghosts and Drunken Hymns

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

JazzAbout.pl
Will Holshouser to dzisiaj chyba najbardziej enigmatyczny akordeonista na świecie, członek avant-popowego zespołu Antony and the Johnsons z jednej strony, odnajduje się także w avant-klezmerskich składach Davida Krakauera. Często partneruje charyzmatycznej jazzowej skrzypaczce Reginie Carter ale także współtworzy trio z legendami Free Improvisation/Avant-Garde: Hanem Benninkiem i Michaelem Moore'm. Usłyszymy go w składach legendarnej songwriterki Marthy Wainwright, jazzowch muzyków jak Roberto Rodriguez, Dave Douglas, Maria Schneider ale także Brooklyn Philharmonic Orchestra.
Warto jeszcze dodać, że Will Holshouser studiował kompozycję u samego Anthony Braxtona i Billa Barrona na Wesleyan University.
Czego zatem możemy się spodziewać po jego najnowszej, trzeciej juz płycie dla portugalskiej wytwórni Clean Feed?
Muzyki pełnej odwołań zarówno do klezmerskiej i cygańskiej tradycji za wschodniej i centralnej częsci Europy, cajun rodem z Luizjany, argentńskiego tango i paryskiego musette. Wszystko to oczywiście ujęte w erudycyjną klamrę współczesnej polistylistycznej muzyki improwizowanej.
Dodatkowej atrakcyjności dodaje udział w nagraniu portugalskiego pianisty wielkiego formatu Bernardo Sassettiego, czołowego dzisiaj jazzowego muzyka tego kraju.
autor: Piotr Szukała

warto tu przytoczyć kilka cytatów ze światowych mediów:
"As a composer, he's broken out of the format."
Bill Beuttler, Boston Globe


"[Holshouser] successfully showcased the range and beauty of the accordion ... his compositions are intriguing, with wayward harmonies and soft-spoken melodies that make the accordion's thin, reedy treble range sound sweet. This could be music for some fantastical Fellini film."
Anthony Tommasini, New York Times

"Will Holshouser plays as much accordion as there is to be played."
David Wondrich, Village Voice

"The squeezebox king of downtown."
Time Out New York

"Accordionist Will Holshouser is the secret weapon in several of the scene's most inventive and engaging bands."
Time Out New York

"... the trio charms and surprises at the same time ... A revelation."
Thierry Lepin, Jazzman * * * * (France)

"Accordionist Will Holshouser makes a convincing bid for recognition on Reed Song ... enduring compositions ... dynamic interplay ... the compositional and instrumental diversity makes for a remarkably broad palette."
Jay Collins, Signal to Noise

"Holshouser is perhaps one of the few modern accordionists able to re-unite various styles with jazz ... 'eccentric jazz' or 'new folk' could be two approaches to describing this most beautiful CD."
Vittorio Albani, allaboutjazz.com/italy * * * *

"Accordion virtuoso Will Holshouser fashions an offbeat, richly textured trio concept on Reed Song ... there's a wonderfully romantic quality to these ten original pieces... Holshouser knows how to eschew categories, refurbish old-world sounds, and grab the ear with airy, attractive melodies."
David R. Adler, All Music Guide * * * *

"Will Holshouser demonstrates with this album his talent, originality and a true musical richness with his trio ... a jazz symphony ... there is virtuosity, emotion, orginality."
Accordeon (France)

Editor's info:
For those who think jazz is not a church or a credo demanding preservation and controlled entries, it's a factor of curiosity the encounter between a chamber jazz trio incorporating world musics like Middle Eastern and Central European klezmer, Louisiana's cajun, Argentinian tango, French musette and Eastern European gypsy songs and a jazz pianist who builds his concepts in the continuity of the classical tradition and of contemporary music, also having a cinematic perspective solidified by his many film soundtracks. That's what is offered by the reunion of the idiosincratic Will Holshouser Trio (with it's two previous acclaimed records on Clean Feed, "Reed Song" and "Singing to a Bee") with the Portuguese pianist extraordinaire Bernardo Sassetti. For all effects, it's the inner nature of jazz itself these four notable intrumentalists and composers/improvisers honour with such an iniciative: we should remember that the "great African-American music" is, from the beginning, the fruit of cultural hybridizations. This partnership was possible only because all the musicians are conscious that, in a global world, you need to think and act globally. With this formula, the accordion turns really a Dada musical instrument - 80 years after Tristan Tzara's manifesto. Holshauser's trio and Sassetti were finally able to "destroy the conventional simbology and logic", one of the objectives of that art movement in the start of the 20th century. A former disciple of Anthony Braxton (Holshouser), the musical director of Andrew Hill's later projects (Horton), the heir of the most exquisite double bass lineage (Phillips) and the voted Prince of Portuguese jazz (Sassetti) do it brilliantly in "Palace Ghosts and Drunken Hymns".

muzycy:
Bernardo Sassetti: piano
David Phillips: bass
Ron Horton: trumpet
Will Holshouser: accordion

utwory:
1. Danca Palaciana
2. Dance of the Dead
3. Narayama
4. East River Breeze
5. The Oldest Boat
6. Irreverente

wydano: 2009
nagrano: Recorded at Luna Records in Los Angeles, CA, August 13-14, 2006 by Jamieson and Roxy Trotter
more info: www.cleanfeed-records.com
more info2: www.willholshouser.com