(Avant-Garde, Experimental) [WEB] Ingrid Laubrock - Serpentines (Peter Evans, Miya Masaoka, Craig Taborn, Sam Pluta, Dan Peck, Tyshawn Sorey) - 2016, FLAC (tracks), lossless

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Path: ...\Ingrid Laubrock - Serpentines (2016)
1 -=- 01 - Pothole Analytics, Pt. 1.flac -=- CDDA (100%)
2 -=- 02 - Pothole Analytics, Pt. 2.flac -=- CDDA (100%)
3 -=- 03 - Chip in Brain.flac -=- CDDA (100%)
4 -=- 04 - Squirrels.flac -=- CDDA (100%)
5 -=- 05 - Serpentines.flac -=- CDDA (100%)
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Artist Biography by Dave Lynch
A saxophonist who has garnered international acclaim particularly in avant jazz circles, German-born Ingrid Laubrock has seemingly heeded a call to travel west, first gathering notice for her work in London's vibrant creative jazz community before jumping the pond and making a name for herself in the cutting-edge improvised music scene of 21st century Brooklyn.
Born in Stadtlohn, Germany in 1970, Laubrock was attracted to jazz from an early age, particularly European free jazz, and spent several of her teenage years soaking up the music from radio, recordings, and attending live performances. Not enamored of small-town life, she moved to Berlin immediately after finishing school, and in 1989 crossed the Channel to England and settled in London. Without any formal training, she began busking on alto saxophone in the London Underground with her guitarist boyfriend, but decided to take the plunge into formal lessons with tenor and soprano saxophonist Jean Toussaint in 1993. Continuing on the path toward the life of a professional jazz saxophonist, she took master classes with Dave Liebman in the U.S. during 1998 and 1999, and then threw herself into rigorous practice back home in Germany before returning to London, where she also completed a postgraduate jazz course at the Guildhall School of Music and Drama.
In 1993 Laubrock met two Brazilian musicians living in London, singer Mônica Vasconcelos and guitarist Ife Tolentino, and she made her first recorded appearance on the 1994 Vasconcelos recording Nóis, which also featured Tolentino among the musicians. In addition, Laubrock and Vasconcelos co-founded As Meninas (The Girls) as an outlet for their exploration of Brazilian jazz; the group became a quartet with the addition of Tolentino and drummer/percussionist Chris Wells, and later underwent a name change to Nóis 4.
When the time came for Laubrock to record her first album as a leader, she tapped Tolentino as guitarist for her own band, along with British keyboardist/accordionist Kim Burton, Italian bassist Davide Mantovani, and Mozambican percussionist Helder Pack. Released by the Candid label in 1998, Who Is It? immediately established the saxophonist as an artist with an international perspective. Two years later, Laubrock appeared as part of a large ensemble supporting Vasconcelos on the singer's second album, Nóis Dois, and in 2000 she joined Vasconcelos, Tolentino, and Wells on the As Meninas disc Bom Dia. Laubrock's sophomore album as a leader, 2001's Some Times (also on Candid), found her on soprano, alto, and tenor saxophone leading a much larger ensemble than her debut, featuring Tolentino, bassist Larry Bartley, drummer Tom Skinner, saxophonist/clarinetist Julian Siegel, trombonist Mark Bassey, trumpeter/flügelhornist Bryon Wallen, and pianists Karim Merchant and Nikki Isles -- some of these musicians, along with Laubrock, would join the F-IRE Collective (Fellowship for Integrated Rhythmic Expression), an aggregation of London-based artists who originally met to investigate West African dance music.
Over the next two years, Laubrock would appear on recordings by Vasconcelos, Bartley, and trumpeter/flügelhornist Tom Arthurs, while moving in a more avant-gardist, exploratory direction as a F-IRE Collective participant. Laubrock drew from the Collective -- which received a BBC Jazz Award for Innovation in 2004 -- to derive the lineup of her third album, Forensic, which featured bassist Bartley, drummer Skinner, pianist Merchant, and cellist Ben Davis in addition to the leader on soprano, alto, tenor, and baritone saxophones. Released in 2005, the same year that Laubrock received a Rising Star nomination from the BBC Jazz Awards, Forensic was lauded as a creative leap forward for Laubrock, combining diverse improvisational and jazz-based idioms into an adventurous meld.
During this time period, Laubrock also recorded in collaborative or sidewoman settings with Nóis 4 (Gente, 2004, Candid), Brigitte Beraha (Prelude to a Kiss, 2004, FMR), Polar Bear (the Mercury Music Prize-nominated Held on the Tips of Fingers, 2005, Babel), and Barry Green (Introducing, 2005, Tentoten) before teaming with pianist Liam Noble for the duo recording Let's Call This... (2006, Babel), featuring original pieces interspersed amidst the music of Monk, Mingus, Ellington, and Konitz. Laubrock and Noble were introducing their duo to creative jazz listeners at roughly the same time that Noble was also performing and recording with his Anglo-American quartet featuring British guitarist Phil Robson and the American bass-drums team Drew Gress and Tom Rainey (the quartet appears on Noble's 2005 Basho label album Romance Among the Fishes).
Noble served as a catalyst of sorts for the next phase of Laubrock's life in music, as Laubrock met Rainey for the first time at the 2006 Cheltenham Jazz Festival when Rainey was performing with the pianist at the event. Learning that Laubrock was an improvising saxophonist, Rainey listened to, and was mightily impressed by, her Forensic album; Rainey invited her to improvise with him, and the musical connection was immediate. In September 2007, Rainey joined Laubrock and Noble in London to record the eponymous debut album by Laubrock's new trio, Sleepthief, released on the Swiss Intakt label the following year. (A second Sleepthief album, The Madness of Crowds, arrived on Intakt in 2011.) In 2008 Laubrock was drawn to Brooklyn, crossing the Atlantic to live there with Rainey and begin a new phase in her life as a key contributor to Brooklyn-based creative jazz.
Laubrock's first New York band would be a collaborative trio, Paradoxical Frog, which emerged from a session at pianist Kris Davis' house with drummer Tyshawn Sorey. Laubrock, Davis, and Sorey all contributed compositions to the ensemble, which released two albums on the Clean Feed label, an eponymous debut in 2010 and Union in 2012. After linking up with Davis and Sorey in Paradoxical Frog, Laubrock met guitarist Mary Halvorson, and the saxophonist's invitation for Halvorson to play a session with her and Rainey ultimately resulted in formation of the Tom Rainey Trio, Rainey's first group under his own name after decades of major contributions to creative jazz and improvised music projects by collaborative outfits or led by others. The trio's debut album, Pool School, was released by Clean Feed in 2010 -- the same year that Laubrock and Rainey were married -- and a sophomore Tom Rainey Trio outing, Camino Cielo Echo, arrived on Intakt in 2012.
With the Tom Rainey Trio serving as a vehicle for Laubrock in purely improvisational mode and Paradoxical Frog moving forward as a leaderless collaborative threesome, Laubrock decided the time was right to lead her own New York-based ensemble that would provide an outlet for her compositional side. She invited bassist John Hébert to join her new group Anti-House, also featuring Rainey and Halvorson. The band's eponymous debut album -- with pianist Davis a featured guest -- was released by Intakt in 2010. By 2013 Anti-House had solidified into a quintet with Davis a full-fledged member on the group's sophomore Intakt album, Strong Place. The group's third Intakt album, 2015's Roulette of the Cradle, featured clarinetist Oscar Noriega on two tracks.
As the 2010s progressed, Laubrock remained extremely busy in settings as a leader, collaborator, or sidewoman. In 2011 she was commissioned by German public broadcasting corporation SWR to compose and perform new music for that year's edition of the venerable New Jazz Meeting (founded in 1966); for the occasion, she assembled an octet comprising musicians from both sides of the Atlantic, with herself on tenor and soprano saxophone joined by Rainey, Halvorson, bassist Gress, pianist Noble, trumpeter Arthurs, cellist Ben Davis, and accordionist Ted Reichman. She also performed and recorded in groups including a trio with pianist Veryan Weston and cellist Hannah Marshall, playing soprano and tenor on the album Haste (2012, Emanem); Catatumbo with bassist Olie Brice and drummer Javier Carmona, playing tenor on the trio's eponymous album (2012, Babel); pianist Kris Davis' quintet with Rainey, violist Mat Maneri, and bassist Trevor Dunn, appearing on Capricorn Climber (2013, Clean Feed); LARK with Rainey, Kris Davis, and trumpeter Ralph Alessi, featured on soprano and tenor on the quartet's eponymous debut (2013, Skirl); Lily's Déjà Vu with guitarist Guillermo Celano, bassist Jasper Stadhouders, and drummer Marcos Baggiani, appearing on Music from Another Ass (2013, Trytone); and the Mary Halvorson Septet with Halvorson, bassist Hébert, trumpeter Jonathan Finlayson, alto saxophonist Jon Irabagon, trombonist Jacob Garchik, and drummer Ches Smith, playing tenor on Illusionary Sea (2013, Firehouse 12).
In May 2014, Intakt released Zürich Concert, a recording of the Ingrid Laubrock Octet's performance at the 2011 SWR New Jazz Meeting. Laubrock also appeared that year on the eponymous debut album (also released by Intakt) by a new Tom Rainey ensemble, Obbligato, also featuring Gress, Alessi, and Kris Davis, with the quintet improvising on standards by the likes of Ellington, Monk, Kern, and Styne, and embarked on a U.S. tour in support of And Other Desert Towns, an album of ten improvisations by the duo of Laubrock and Rainey released by Relative Pitch Records. The Laubrock-Rainey duo tour came close on the heels of Laubrock's appearance, also during May 2014, at the Onassis Cultural Centre in Athens, Greece as a member of 2014 NEA Jazz Master Anthony Braxton's Diamond Curtain Wall Quartet, also including Halvorson and trumpeter/cornetist Taylor Ho Bynum.
http://www.allmusic.com/artist/ingrid-laubrock-mn0000542693/biography
The septet’s music weaves together Ingrid Laubrock‘s compositions with improvisation and live processing, often in multiple simultaneous layers.The four compositions in the form an imaginative and evocative piece that straddles the boundaries of improvisation, new music and avant-jazz.
Ingrid Laubrock Septet consists of New York City-based musicians who have all made a huge impact as composers, performers and improvisers in their own right. It’s a cast of innovative performers who are specialized in experimental music and constantly look for fresh avenues to create truly new music.
http://ingridlaubrock.com/serpentines.html

After relocating to Brooklyn in 2008 Ingrid Laubrock soon became a creative epicentre in the New York jazz scene, and is now one of the most significant voices in contemporary jazz. The new album 'Serpentines' fits in Laubrock’s musical cosmos, in which improvisational furore and compositional rigour, calculation and freedom, are intermingled. Laubrock grounded this formation with the unusual line-up having been given a carte blanche for the 2015 Vision Festival.
Florian Keller writes in the liner notes: "If we take the title’s suggestion and use snake paths as graphs for the movement of this music, various distinctive characteristics can be determined. Via the crafty compositional and improvisational about-turns, the music spirals upwards, peaking in airy flights. Changes of direction, and rhythmic, melodic turning points drive the music on, and release dramatic potential."
http://www.intaktrec.ch/272-a.htm
https://laubrock-intakt.bandcamp.com/album/serpentines
On the eponymous Serpentines, German-born, NYC-based saxophonist Ingrid Laubrock's unveils a new outfit featuring unconventional instrumentation, peopled by an all star cast. For this line up Laubrock takes her enigmatic charts for groups such as Anti-house and Ubatuba to another level, as improv jazz meets the classical avant-garde in pieces where mood and texture often trump individual pyrotechnics. It's fair to say that the assembled talents very much reside at the service of Laubrock's tightly drawn yet organic frameworks.
As such, the dominant feel is of an ensemble music, though it's rare for everyone to play at the same time. Laubrock's compositions unfurl step by step without imparting their structure. She uses her collected resources carefully but sparingly. That includes her own saxophone, as she is heard almost as much on glockenspiel. In fact it's not until the final title track that she stretches out on tenor saxophone, skittering above dense backing early on, before later expanding a ruminative questing line.
"Pothole Analytics Pt. 1" comprises pointillist sounds, which overlap, moving from shorter to longer idioms, creating a spacious introductory vibe to start proceedings. "Part 2" switches gears to become a tapestry of vibrant propulsive overlapping figures, with trilled motifs, particularly from the leader's soprano and Peter Evans' trumpet which sing out to forge a unifying signature, reminiscent of the recurrent fanfare in Anthony Braxton's "Composition 159." Those staccato exclamations serve a central role in "Chip In Brain" too, which in its mix of uneasy ambience and sustained tones, showcases Evans' marvellous keening, sighing circular breathed piccolo trumpet.
There's more opportunity for personalities to shine on the multi-sectioned "Squirrels," which you could imagine in the Anti-house band book. It begins with yet more mercurial interplay between Evans and Laubrock's soprano, a winning gambit revisited during the 15-minute duration. Space opens for a tumbling, flashing, glinting Craig Taborn piano excursion, with support from Dan Peck's harumphing tuba and Tyshawn Sorey's drum coloration. Later Miya Masaoka's koto comes to the fore, her bent inflections latterly accompanied by Sam Pluta's fizzing electronics.
As ever with Laubrock, her imagination leads places that others might not venture and with a such a team of luminaries, the realisations are never less than intriguing.
https://www.allaboutjazz.com/serpentines-ingrid-laubrock-intakt-records-review-by-john-sharpe.php
Another year, another upheaval in Ingrid Laubrock’s music. Laubrock has always assembled impressive bands, each—despite some overlapping membership—standing as distinct sonic entities. They’ve also served as blazes along an increasingly challenging trail of development as a composer and band leader, with each new group Laubrock convenes digesting and incorporating the lessons and strategies of those before. The septet behind Serpentines is the latest blaze, a mix of past collaborators and new faces that has affinities with Laubrock’s recent projects, but nevertheless bushwhacks into yet new territory.
Serpentines is a record of contrasts, shifting between spaciousness and density, concision and elaboration, restraint and virtuosity. These tensions are not the means to some cathartic resolution, but rather deliberate friction points that might spark novel musical ideas. Two unusual additions exemplify these contrasts well: Miya Masaoka’s koto, a delicate Japanese instrument with hundreds of years of history, and Sam Pluta’s electronics, which can feel as though they’re beamed in from some time in the future. Those familiar with Pluta’s ability to reshape Peter Evans’s entire quintet will find him to be relatively discreet here, excepting a bizarre, fourth wall-breaking solo spot in “Squirrels” that will make you think your audio system is fried.
As with last year’s Ubatuba, Laubrock’s compositions roam between controlled atmospherics and loose schemes designed to provoke her cast of improvisers into bouts of jaunty, knotted counterpoint. “Pothole Analytics Pt. 2” spins simple canonical motifs into a whorl of complexity by allowing each musician to choose their own tempo, while stretches of “Squirrels” and “Serpentines” are dizzying accretions of strange timbres and spirited interplay. Florian Keller rightly focuses on the significance of the album’s title in the liner notes: a writhing pile of snakes, Serpentines questions clean, linear approaches, favoring instead the unpredictable and the unexpected. In each of Serpentine’sfive pieces, no single moment betrays what will happen in the next.
At the other end of the spectrum, centerpiece “Chip in the Brain” has the ominous feel of a synth-heavy 80s horror soundtrack. Much like her octet’s music, the number of musicians involved is misleading: Taborn, Masaoka, Sorey, and Laubrock on glockenspiel form a tight-knit pattern, feeling more like one element than four. Beneath, Peck and Pluta merge into a snoring, gurgling drone, while Evans’s mournful trumpet drifts above it all. It’s unlike anything else on Serpentines, or that we’ve heard from Laubrock before.
Closing on a beautiful duet of piano and koto, Serpentines is a record that demands to be played again; it’s music that can be appreciated, but perhaps not fully understood after only one listen. It’s a fitting and absorbing continuation of Laubrock’s ongoing project: writing music that both excites and challenges some of the world’s best improvisers. Happily, we listeners can be excited and challenged by it, too.
http://www.freejazzblog.org/2016/12/ingrid-laubrock-serpentines-intakt-2016.html

Ingrid Laubrock: Tenor Saxophone, Soprano Saxophone, Glockenspiel
Peter Evans: Piccolo Trumpet, Trumpet
Miya Masaoka: Koto
Craig Taborn: Piano
Sam Pluta: Electronics
Dan Peck: Tuba
Tyshawn Sorey: Drums