(Avant-Garde / Contemporary Jazz / Between the Lines) Carl Maguire - Floriculture - 2005, FLAC (image+.cue), lossless
Треклист:
Carl Maguire - Floriculture
Жанр: Avant-Garde / Contemporary Jazz / Between the Lines
Год выпуска диска: 2005
Производитель диска: Between the Lines BTLCHR 71209; Germany
Аудио кодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 46:48
Chris Mannigan: alto saxophone
Carl Maguire: piano
Trevor Dunn: bass
Dan Weiss: drums
1. Egocentric
2. Denizen Green (for Mark Dresser)
3. Jilly
4. Chamber Social
5. Subsurface
6. Ermes Marana (after Italo Calvino)
7. The Nord Lord (for Gabriel)
Recorded at Acoustic Recording, New York, USA
рип собственный
Жанр: Avant-Garde / Contemporary Jazz / Between the Lines
Год выпуска диска: 2005
Производитель диска: Between the Lines BTLCHR 71209; Germany
Аудио кодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 46:48
Chris Mannigan: alto saxophone
Carl Maguire: piano
Trevor Dunn: bass
Dan Weiss: drums
1. Egocentric
2. Denizen Green (for Mark Dresser)
3. Jilly
4. Chamber Social
5. Subsurface
6. Ermes Marana (after Italo Calvino)
7. The Nord Lord (for Gabriel)
Recorded at Acoustic Recording, New York, USA
Between the Lines
The pianist and composer Carl Maguire was born and grew up in Madison, Wisconsin. Following studies are various colleges with Roscoe Mitchell, Fred Hersch and Marilyn Crispell, he joined Brett Sroka’s band “Ergo“, whose sound he influenced strongly with his almost unlimited and improvising range. He played Rhodes and accordion in Laura Andel’s “Electric Percussive Orchestra“ and was a pianist in Butch Morris’ “Skyscraper“. He thus played his way to become a regular in the New York scene and was able to found his own quartet “Floriculture“ two years ago, with whom he performs regularly. His debut CD with this band is characterized by the power of the compositions and the great deal of imagination, with which the improvisations touch all levels of expression in music like a kaleidoscope.
His quartet is composed of musicians, who contribute extensive experience from the avant-garde scene in New York. Chris Mannigan (as) plays regularly in grounds with Yoon Sun Choi and in duets with Ed Owens. Danny Weiss (d) has already performed with a great number of musicians such as Kenny Werner, Uri Caine and Dave Liebman and been involved in recordings, which have been released by Omnitone and Act (with Joel Harrison), among others. Trevor Dunn (b) has been the bassist alongside of John Zorn, member of “Electric Masada“ and bassist on numerous “Filmworks“ on Tzadik. ~ Between the Lines
His quartet is composed of musicians, who contribute extensive experience from the avant-garde scene in New York. Chris Mannigan (as) plays regularly in grounds with Yoon Sun Choi and in duets with Ed Owens. Danny Weiss (d) has already performed with a great number of musicians such as Kenny Werner, Uri Caine and Dave Liebman and been involved in recordings, which have been released by Omnitone and Act (with Joel Harrison), among others. Trevor Dunn (b) has been the bassist alongside of John Zorn, member of “Electric Masada“ and bassist on numerous “Filmworks“ on Tzadik. ~ Between the Lines
AAJ Reviews
Floriculture is clearly a jazz record and does not seem to inhabit Between the Lines' usual niche at the point of collision between modern classical composition and jazz improvisation, perhaps because of the standard jazz band instrumentation.
The first delicate notes of Carl Maguire's piano in "Egocentric" repeat odd phrases that move in and out of phase with each other, but when the rest of the band enters, powerfully amplifying and filling out the theme, you know that you are in for a trip. The piece sounds like Fieldwork's Simulated Progress in its density and power (but with a bass, of course) until Chris Managan enters on alto saxophone. Although it is hard to say whether the music is through-composed or improvised (or a mix of both), "Egocentric" is a wonderful introduction to the talents of Maguire and his band, and its main theme infuses the rest of the album, creating a unified whole.
After the first "straight" track, "Denizen Green" begins with various sax sounds, plucked and scraped piano internals, and bowed bass notes and harmonics, all accompanied by the rising and falling densities of Dan Weiss' percussion, eventually evolving into a noticeable pulse. The mists lift, and what earlier seemed chaotic now comes together as a long-limbed theme played in unison by piano and sax, which rises into the sun.
It is now clear that Maguire's music really is "between the lines," but from the other side—the composed sections appear, then blend into the improvisations, which then mutate back into composition. No sharp lines demarcate anything, and "Denizen Green" is a major statement of compositional technique and improvisational ability. The band shows itself to be an organic unit that evolves with the music.
Each piece gives no hint where it is going to go, creating a palpable tension as the record proceeds, since the sense of compositional unity created by the theme keeps building, while at that same time that same feeling is being pulled apart by the improvisation of the players.
Floriculture most definitely exudes the mark of an extremely confident composer in Carl Maguire, who has a deep feel for the freedom that jazz allows. His bandmates obviously enjoy bringing his music to life, and I thoroughly enjoyed taking the trip with them. ~ Budd Kopman, AAJ
Here's a downtown jazz quartet that knows the patterns and traditions of the mainstream but has used it to create something quite different. Maguire's compositions are complicated and dense, but not inaccessible. Reflecting grooves, minimalism and a strong sense of melody, this music demands repeated listenings, if only due to the fact that the listener can't quite take it in all at once.
Start immediately with "Egocentric, which, Maguire says, pits a static ostinato against a morphing ostinato. The tension created allows the musicians to work on finding their own places in the spaces that the tune creates. It should be noted here that this band has played these tunes and has had the time and freedom to negotiate their complexities. It's only then, says the composer, that the tunes "really start to sing. These are exceptional players, but each man's every note is at the service of making brilliant, involving music.
Fully reflective of how smart and playful Maguire, the tunes and the band are, "Chamber Social, for example, plays with the notion of the familiar. It's basically a single line that is thrown about by all the musicians, taking on seemingly new colors as each player gets it. It's an energetic workout that seems nutty and fully logical at once. That spirit is at work throughout Floriculture. ~ Donald Elfman, AAJ
The fact that this quartet is apparently a working band is abundantly obvious. The program of music they perform comes entirely from the pen of Maguire, and such is the organic nature of the band that the impression is of music written with these particular musicians in mind, as opposed to a bassist, an alto saxophonist, etc. Thus, Chris Mannigan's alto sax work is entirely his own, for all of the faint echoes of Anthony Braxton, whilst bassist Trevor Dunn makes his presence felt in places where a musician less attuned to Maguire's music might simply miss opportunities.
For a group of this size and makeup, the music they make is no little distance from what might be imagined. "Egocentric," for example, breaks down at one point into an extended duet for piano and bass before Dan Weiss adds further colors on cymbals and Mannigan takes a solo which defies all the rules in terms of what might be called correct virtuosity. The likes of "Chamber Social" highlight just how important familiarity must be both in terms of Maguire's compositional method and group conception.
If nothing else, this music is profoundly a group music and not just yet another showcase for virtuoso soloing over accompaniment that ticks all the right boxes whilst delivering little else. Simultaneously the complexity of this music is entirely free of self-consciousness, and experience suggests that this in as achievement in itself; it makes demands at the same time as it rewards close attention.
The fact that Floriculture was recorded in August of 2002 in Brooklyn and is only just seeing the light of day might well be a sad reflection of the times we live in. The point is perhaps emphasized by the fact that it's taken a Dutch label to get it out at all. Leaving aside any debate that might provoke, this is music that possesses an overwhelming percentage of the attributes that make for stimulating listening. ~ Nic Jones, AAJ
The first delicate notes of Carl Maguire's piano in "Egocentric" repeat odd phrases that move in and out of phase with each other, but when the rest of the band enters, powerfully amplifying and filling out the theme, you know that you are in for a trip. The piece sounds like Fieldwork's Simulated Progress in its density and power (but with a bass, of course) until Chris Managan enters on alto saxophone. Although it is hard to say whether the music is through-composed or improvised (or a mix of both), "Egocentric" is a wonderful introduction to the talents of Maguire and his band, and its main theme infuses the rest of the album, creating a unified whole.
After the first "straight" track, "Denizen Green" begins with various sax sounds, plucked and scraped piano internals, and bowed bass notes and harmonics, all accompanied by the rising and falling densities of Dan Weiss' percussion, eventually evolving into a noticeable pulse. The mists lift, and what earlier seemed chaotic now comes together as a long-limbed theme played in unison by piano and sax, which rises into the sun.
It is now clear that Maguire's music really is "between the lines," but from the other side—the composed sections appear, then blend into the improvisations, which then mutate back into composition. No sharp lines demarcate anything, and "Denizen Green" is a major statement of compositional technique and improvisational ability. The band shows itself to be an organic unit that evolves with the music.
Each piece gives no hint where it is going to go, creating a palpable tension as the record proceeds, since the sense of compositional unity created by the theme keeps building, while at that same time that same feeling is being pulled apart by the improvisation of the players.
Floriculture most definitely exudes the mark of an extremely confident composer in Carl Maguire, who has a deep feel for the freedom that jazz allows. His bandmates obviously enjoy bringing his music to life, and I thoroughly enjoyed taking the trip with them. ~ Budd Kopman, AAJ
Here's a downtown jazz quartet that knows the patterns and traditions of the mainstream but has used it to create something quite different. Maguire's compositions are complicated and dense, but not inaccessible. Reflecting grooves, minimalism and a strong sense of melody, this music demands repeated listenings, if only due to the fact that the listener can't quite take it in all at once.
Start immediately with "Egocentric, which, Maguire says, pits a static ostinato against a morphing ostinato. The tension created allows the musicians to work on finding their own places in the spaces that the tune creates. It should be noted here that this band has played these tunes and has had the time and freedom to negotiate their complexities. It's only then, says the composer, that the tunes "really start to sing. These are exceptional players, but each man's every note is at the service of making brilliant, involving music.
Fully reflective of how smart and playful Maguire, the tunes and the band are, "Chamber Social, for example, plays with the notion of the familiar. It's basically a single line that is thrown about by all the musicians, taking on seemingly new colors as each player gets it. It's an energetic workout that seems nutty and fully logical at once. That spirit is at work throughout Floriculture. ~ Donald Elfman, AAJ
The fact that this quartet is apparently a working band is abundantly obvious. The program of music they perform comes entirely from the pen of Maguire, and such is the organic nature of the band that the impression is of music written with these particular musicians in mind, as opposed to a bassist, an alto saxophonist, etc. Thus, Chris Mannigan's alto sax work is entirely his own, for all of the faint echoes of Anthony Braxton, whilst bassist Trevor Dunn makes his presence felt in places where a musician less attuned to Maguire's music might simply miss opportunities.
For a group of this size and makeup, the music they make is no little distance from what might be imagined. "Egocentric," for example, breaks down at one point into an extended duet for piano and bass before Dan Weiss adds further colors on cymbals and Mannigan takes a solo which defies all the rules in terms of what might be called correct virtuosity. The likes of "Chamber Social" highlight just how important familiarity must be both in terms of Maguire's compositional method and group conception.
If nothing else, this music is profoundly a group music and not just yet another showcase for virtuoso soloing over accompaniment that ticks all the right boxes whilst delivering little else. Simultaneously the complexity of this music is entirely free of self-consciousness, and experience suggests that this in as achievement in itself; it makes demands at the same time as it rewards close attention.
The fact that Floriculture was recorded in August of 2002 in Brooklyn and is only just seeing the light of day might well be a sad reflection of the times we live in. The point is perhaps emphasized by the fact that it's taken a Dutch label to get it out at all. Leaving aside any debate that might provoke, this is music that possesses an overwhelming percentage of the attributes that make for stimulating listening. ~ Nic Jones, AAJ
EAC Report
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 27. February 2010, 16:51
Carl Maguire / Floriculture
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AccurateRip summary
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Track 7 not present in database
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End of status report
рип собственный