(Avant-Garde) Harris Eisenstadt - Canada Day - 2009, FLAC (image+.cue), lossless

Harris Eisenstadt - Canada Day Жанр: Avant-Garde Год выпуска диска: 2009 Производитель диска: Portugal (Clean Feed CF157) Аудио кодек: FLAC Тип рипа: image+.cue Битрейт аудио: lossless Продолжительность: 56:20Nate Wooley: trumpet Matt Bauder: tenor saxophone Chris Dingman: vibraphone Eivind Opsvik: bass Harris Eisenstadt: drums, compositions1. Don't Gild The Lilly 2. Halifax 3. After An Outdoor Bath 4. And When To Come Back 5. Keep Casting Rods 6. Kategeeper 7. Ups And Downs 8. Every Day Is Canada Day  Clean Feed Release NotesYou can be a New Yorker and a Californian without being an American, and that's precisely the case with the Canadian born drummer and composer Harris Eisenstadt. Strongly connected to the creative scenes of the Big Apple and the City of Angels (he’s lived in New York since 2006 and lived in Los Angeles from 1999-2005), Eisenstadt has been influenced by both cities and has contributed to all the occurring developments. It was with an all-American band he recorded “Canada Day”, his musical tribute to the country where he started to play. This is, indeed, a citizen of the world: the music Eisenstadt composes has rhythmic elements coming directly from West Africa, where he spent some studying periods with local master percussionists, and the overall chamber music effect is, undoubtedly, of European origin. But there's something more to intrigue you in this CD than its transnational components. The leader of the session surrounds himself with musicians known for their sometimes radical avant-garde activities, and yet, we find here Nate Wooley, Matt Bauder, Chris Dingman and Eivind Oipsvik dedicated to the most recognisable post-bop, even if sometimes going for more free-flowing situations. Have no doubts: this is jazz in the formal sense. And the best you can expect and hope for! ~ Clean Feed Release Notes  AMG ReviewThe second recording released in 2009 by Harris Eisenstadt contrasts greatly with his previous effort, Guewel, which consisted of progressive, horn-oriented treatments of African popular music. Canada Day is a celebration of his native country, and as the Canadian goose signifies on the cover, the music is symbolic of freedom, flight, and artistry. Much more in the modern jazz arena, the music reflects both neo-bop and creative improvised styles with a very talented quintet of young and experienced players. Tenor saxophonist Matt Bauder, trumpeter Nate Wooley, and bassist Eivind Opsvik have all led their own dates, while promising vibraphonist Chris Dingman is a new and welcome name on the scene. A composer of great depth and diversity, Eisenstadt proves a fine trap drummer for this recording, and a formidable bandleader who deserves more recognition in both areas. Pieces like "Don't Gild the Lilly" and "Keep Casing Rods" both display a love for post-modern mainstream jazz, the former in a mysterious N.Y.C. neo-bop with clockwork rhythms and new inventions from Dingman, the latter a singsong swinger with nice horn unity in hushed, fluid tones, and a tacked-on duet between the saxophonist and drummer. Bauder is a player who is growing by leaps and bounds after time spent with Anthony Braxton, showing no discernible influences, finding his own voice. His solemn, understated tone during "Halifax" sets a definite tone, while with Wooley during "After an Outdoor Bath," his funky, angular tones like sideways rain is akin to the best Ornette Coleman/Don Cherry harmelodic mood. The group coasts on "And When to Come Back" like nonchalant homing pigeons who have done this reverse pilgrimage many times before, and the modified waltz "Ups & Downs," is ever changing in dynamics, indicative of the title, includes a fine solo from the opulent Opsvik, and is one of Eisenstadt's better composed works. "Kategeeper" is clearly a paean to a flighty member of the female sex, a harder-edged, mixed-message funk with spiky, emotion-saturated lines. The cohesion of the ensemble, glued by the steady, steaming, streaming rhythms of Eisenstadt, keeps the listener focused and compelled to hear more. Canada Day is not just for North Americans, but an impressive studio date that should also be heard live in performance. As it is, this is a strong candidate for Top Ten status in the category of best jazz CDs of 2009, with Guewel equally viable in the world music category. ~ Michael G. Nastos, AMG  AAJ ReviewA consummate example of the traveling musician, Canadian-born composer/percussionist Harris Eisenstadt's journeys have taken him from a long-term residency on the West Coast (with frequent trips to Chicago) to multiple trips abroad to study drumming in West Africa before relocating to New York. The majority of Eisenstadt's releases have been documents of singular projects; ad-hoc ensembles that, despite their excellence, have never been given the time to properly develop. Canada Day is the self-titled debut album of the quintet he founded in 2005—the first time Eisenstadt has been able to record such a longstanding ensemble. Drawing upon some of the best new talent in the Brooklyn scene, Eisenstadt's formidable quintet is as capable of adventurous timbral explorations as they are of in-the-pocket swing. Unswerving bassist Eivind Opsvik and vibraphonist Chris Dingman assist Eisenstadt in supporting the fervid front-line of tenor saxophonist Matt Bauder and trumpeter Nate Wooley. A magnanimous leader, Eisenstadt eschews unaccompanied soloing entirely on this date, leaving ample room for his sidemen, including his rhythm section partners. Dingman's effervescent cadences and Opsvik's melodious phrasing play pivotal roles in the group's evocative sound. Blending a mid-'60s Blue Note vibe with elastic post-rock grooves and subtle West African influences, Eisenstadt successfully unites his assorted interests into a cohesive ensemble sound. Offering subtle variations on melody, harmony, rhythm and texture, he encapsulates the vastness of Canada in each piece, all dedicated to his native land. The moody "Halifax" unfolds as a slow rubato dirge, spotlighting Bauder's garrulous tenor eruptions, while Wooley's lyrical variations and Dingman's cascading accents infuse the cinematic tone poem "Every Day Is Canada Day" with ethereal plangency. Opsvik's melodious bass solo is the centerpiece of "And When To Come Back," with Dingman's ebullient spree elevating the jaunty opener, "Don't Gild The Lilly." Bauder and Wooley are dynamic performers with a predilection for the outer realms of sound. Bauder's multiphonic glisses on "Halifax" and Wooley's coruscating half-valve smears on the angular "After An Outdoor Bath" push the limits of tonality without abandoning basic melody or harmony. Though no one musician dominates the proceedings, Wooley's muted discourse on "Don't Gild The Lilly" is a tour de force of controlled abstraction. An impressive master of textural manipulation, he joins Taylor Ho Bynum, Peter Evans and Rob Mazurek as another remarkable disciple of the legendary trumpeter Bill Dixon. An accessible blend of inside and outside traditions delivered by an empathetic young ensemble, Canada Day is a welcome addition to the burgeoning discography of one of the new generation's leading composers. ~ Troy Collins, AAJ  EAC ReportExact Audio Copy V0.99 prebeta 5 from 4. May 2009EAC extraction logfile from 6. 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