(Avant-Garde Jazz, Free Improvisation) [CD] Peter Evans Quintet (Jim Black, Ron Stabinsky, Tom Blancarte, Sam Pluta) - Destination: Void - 2014, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 2. November 2014, 23:55
Unknown Artist / Unknown Title
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==== Log checksum DFEBAC912E677A6A22471D1614DFD011B8BF926984CA075D997CAF07D245151C ====

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The American trumpeter Peter Evans does not like the hyped adage " less is more ". This is evident both from his music from More is More, his own label, which he will soon release a second album with his quintet. Compared to 'Ghosts' of 2011 has undergone a small transformation the band. Pianist Carlos Homs was replaced by his colleague Ron Stabinsky. But drummer Jim Black, bassist Tom Blanc Arte and electro neutropenic Sam Pluta, the man for whom nothing or no one is safe or sacred, are present again.
Evans can pull kind of leather in a jazz context. Remarkably, he gave the listeners 'Ghost' arranged a handle. Not for nothing were some pieces based on standards , though he foresaw that did have a metric battle that quiet with the foot tap along to a perilous undertaking. On "Destination: Void" he goes a step further. Still the public is sometimes a foothold, but that is rarely so that it offers real comfort stable. So it is precisely the bandleader himself in "12," a waltz-like riff persists maniacally pumping while his colleagues sound Scarification pouring over him.
Pluta takes the sound of Evans to the chopped, stuttering and shuffling shooting him back while Black and Stabinsky exactly the same rhythms which they are however not care about the meter that Evans tries to stick to. Spitting, However, pure violence is not, because by pulling rather constant, the musicians sound back folds down to them like insects swarming around the trumpet, to swell again later to put him under extra pressure.
That combination of anarchist explosiveness and suddenly emerging tightness is clearly no coincidence, because 'For Gary Rydstrom and Ben Burt' knows it. Here, however, there is a rhythm out so oddly placed, isolated sounds, it seems as if the figures randomly stuck succession. However, they do enjoy an almost Teutonic greasy sound , as if the live music was sampled from the highlights of a James Bond soundtrack. It appears an ideal surface for Pluta who may be going all the way and tries to make buzzing and humming contact with extraterrestrial life.
In 'Make it So' almost barbaric immediacy of the first pieces gives way to an enchanting and mysterious nocturnal atmosphere. The pattern, though before even a carcass, disappears completely in favor of a very sound sensitive, open form. Evans chooses a vague, almost hesitant melody for piccolo trumpet which he sounds like a worn Baroque painting: elegant and melodious, but very blurry. The result is a sizzling tension, especially as the musical space is not fully played. Again, this creates more attention to the sound that makes then hear nuances that before going snowed under.
May, in the closing 'Tresilo' even unanimity even do her job. By all grow at their own pace, creating a musical upward movement of which the exact sequence is. Difficult to identify When Stabinsky goes merrily frolicking, Evans charge goes into a classic trumpet sound and Pluta his sound arsenal crumples to abstract scratch sounds is the gate all the way from the dam. The piano may sometimes heard some vague Latin references and clearly composed insertion material, it is so to compete with the rest that bring order to the chaos is lost in advance.
Left and right are clearly recognizable recurring formulas, but more than that it is the swirling sound that attracts attention. Again it is not a one way drive , because even then folds the whole band back up to almost wistfully mysterious-level, after Tom Blanc Arte still just get the space. Which he fills with a varied and beautiful sonorous moving jankgeluid and the entire band, by way of conclusion, pops in some rhythmic convulsions tightly aligned frontally against the wall. If there is such a thing as the jazz police are nearby, then allowed Evans and his companions probably blowing into the bag skip and they flew directly into the combi. Where they would probably put their escapades continues.

Peter Evans - trumpet
Ron Stabinsky - piano
Tom Blancarte - bass
Jim Black - drums
Sam Pluta - live processing