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Avant Jazz / Free Improvisation / Avant-Garde
premiera polska: 2019-09-20
opakowanie: kartonowe etui
opis:
multikulti.com - ocena * * * * 1/2:
Gustafsson i Adasiewicz grają ze sobą już od jakiegoś czasu (Jason Adasiewicz to chociażby członek Swedish Azz Matsa), bardzo rzadko jednak występują w duecie. "Timeless" to jedyna jak dotąd ich duetowa płyta.
Obaj to bez wątpienia silne osobowości na współczesnej scenie jazzowej, obaj tryskają wprost energią, to prawdziwe wulkany improwizacji.
Wywodzący się z chicagowskiej sceny jazzowej Jason Adasiewicz (mający w dorobku koncerty i nagrania z Peterem Brotzmannem), oprócz standardowej gry pałkami, posługuje się smyczkami, uderza w ramy wibrafonu, para się też preparowaniem instrumentu.
Mats Gustafsson często czerpie z pierwszego okresu free, zwłaszcza z dorobku Alberta Aylera, ale dowolnie poszerza je o elementy rocka, noise czy hardcore, tworząc niezwykłą, energetyczną, drżącą napięciem do granic możliwości muzykę, podszytą jednak często gdzieś w głębi nieoczywistym liryzmem.
Ich wspólne nagranie, które ukazało się nakładem chicagowskiej oficyny Corbett vs. Dempsey, to zaskakująca sposobność do obcowania z nieoczywistą stroną wrażliwości obu muzyków. To nagranie tchnące głębokim mistycyzmem, introspekcyjny album, na który składają się piękne i wyrafinowane dialogi, które raczej omijają bardziej agresywną stronę osobowości obu muzyków. Narracja jest mniej agresywna i wyzywająca niż zazwyczaj na ich płytach. W zamian otrzymujemy niezwykle przemyślany, refleksyjny i zrównoważony zestaw sześciu kompozycji Gustafssona i Adasiewicza i na deser wspaniałą interpretację klasyka Johna Abercrombiego, tytułowy "Timeless".
Na naszych oczach powstaje wyjątkowa muzyka, trudna do szufladkowania, ale z łatwością rozpoznana, jako brzmienie tego duetu improwizatorów.
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Editor's info:
Discussing this impending studio date, the indefatigable saxophonist Mats Gustafsson and intrepid vibraphonist Jason Adasiewicz decided to compose new pieces for one another. The resulting tracks – which also include a hallucinogenic arrangement of “Timeless,” dedicated to its composer, the recently deceased guitarist John Abercrombie – show a markedly different side of both musicians. Quiet, at times tender, this meeting-of-like-minds evoked a new kind of tension, not one birthed out of screams and wallops, but instead one marshaling the power of restraint. Gustafsson’s work with groups like the Thing and Fire! Orchestra have made him one of the most renowned figures in contemporary energy music, and Adasiewicz’s joyous noise in his own bands and with Peter Brötzmann, Rob Mazurek, and many others have likewise earned him top status in the pantheon of today’s free musicians. On Timeless, they explore low dynamics, static soundscape, and melodic lyricism, infused with passion and intellect. One track features the wooden-keyed African balafon, coaxing a buoyant response on alto from Gustafsson, while their mutual boyhood love of highly select fusion records provided an unforeseen jumping off point for the whole record. On the cover, a painting by Charline von Heyl; across the interior, a photo portrait of the musicians.
freejazzblog.org * * * *:
Fans of improvised music, free jazz and crossover genres know Mats Gustafsson for being able to spit fire with his saxophone. He has proved this both in his long time projects The Thing, Fire! and NU Ensemble as well as in his collaborations with Thurston Moore, Merzbow and Balázs Pándi . Jason Adasiewicz, a prolific member of the Chicago scene, has reached a certain degree of popularity for his albums with Peter Brötzmann (among others), on which he has shown that one can let it all hang out on the vibraphone, too. However, if you expect boisterous iconoclasm on their first duo album, you’ll be surprised.
From the very beginning the atmosphere brings to mind the soundtracks of French film noir classics. Most of the pieces are incredibly slow, quiet, even tender and surprisingly tuneful. Some of them remind me of Bohren und der Club of Gore albums, albeit Gustafsson and Adasiewicz know when they have to add an extra piece of angularity and tempo in order not to get cheesy (e.g. in “Dagger“ and especially in “A Fall They Call It“, the latter presenting the more familiar Gustafsson side). Then again, the music is sometimes so reduced that it sounds as if you were listening to a prop airliner in the distance (“See Them Cold, But See Them Last“).
The title track is the central piece of the album. It’s a cover version of a John Abercrombie number (ECM, 1975; with Jan Hammer and Jack DeJohnette), one of his most beautiful compositions. The original starts with elegiac guitar lines over subtle cymbal work and synthesizer drones for almost five minutes before the actual hook line emerges. The Gustafsson/Adasiewicz version comes to the point much faster and adds a lot more drama to the piece by stripping it down to the essentials: Just a plain melody on the sax and the reverberant chords on the vibes, with very little variation. Gustafsson roughs the tune up with a lot of vibrato towards the end, which has a much more melodramatic effect compared to the already emotional original. I haven’t heard Gustafsson play like this since the title track of Shift (NoBusiness, 2013), his one-time-collaboration with his fellow countrymen Correction.
Yet, don’t be misled. Of course this is a Gustafsson album, his sound is very recognizable. He uses his typical wide-ranging long notes, just played with less anger and aggression than usual. At the end of the day the music evokes an alternative kind of tension, one with a different kind of energy, one with less volume, one with a bigger focus on restraint. Gustafsson and Adasiewicz explore more subtle dynamics and moods, which are still full of passion and intensity.
By Martin Schray
muzycy:
Mats Gustafsson: alto, tenor and baritone saxophones
Jason Adasiewicz: vibraphone and balafon
utwory:
1. Time Is Less 9:28
2. See Them Cold, But See Them Last 4:36
3. Dagger 4:10
4. A Fall They Call It 4:48
5. Memory Is A Voice 6:50
6. Valerie 5:22
7. Timeless 9:06
wydano: 2018
nagrano: Recorded October 1, 2017, by Alex Inglizian at Experimental Sound Studio, Chicago. Mixed Nov 8th, 2017, by John Corbett and Alex Inglizian at Experimental Sound Studio, Chicago.
more info: www.corbettvsdempsey.com
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