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(Avant-Garde Jazz, Free Improvisation) Joe McPhee - Sonic Elements (for pocket trumpet and alto saxophone) - 2013, FLAC (tracks+.cue), lossless

(Avant-Garde Jazz, Free Improvisation) Joe McPhee - Sonic Elements (for pocket trumpet and alto saxophone) - 2013, FLAC (tracks+.cue), lossless
Joe McPhee Sonic Element
For pocket trumpet and alto saxophone
Жанр: Avant-Garde Jazz, Free Improvisation
Страна-производитель диска: Portugal
Год издания: 2013
Издатель (лейбл): Clean Feed
Номер по каталогу: CF278
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 41:46
Источник (релизер): спасибо 6060842
Наличие сканов в содержимом раздачи: front
1. Episode One (For Don Cherry): Wind, Water
2. Episode Two (For Ornette Coleman): Earth/Fire, Old Eyes

Joe McPhee - pocket trumpet, alto saxophone
Лог создания рипа
X Lossless Decoder version 20130602 (143.2)
XLD extraction logfile from 2013-07-12 19:50:58 +0400
Joe McPhee / Sonic Elements
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Media type : Pressed CD
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Gap status : Analyzed, Appended (except HTOA)
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
1 | 00:00:00 | 20:43:74 | 0 | 93298
2 | 20:43:74 | 21:02:53 | 93299 | 188001
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Track 01
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Track 02
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Содержание индексной карты (.CUE)
TITLE "Sonic Elements"
CATALOG 5609063002782
REM GENRE "Free Jazz"
REM DATE "2013"
FILE "01 - Episode One (For Don Cherry).flac" WAVE
TITLE "Episode One (For Don Cherry)"
ISRC PTNF11309061
INDEX 01 00:00:00
TITLE "Episode Two (For Ornette Coleman)"
ISRC PTNF11309062
INDEX 00 20:39:00
FILE "02 - Episode Two (For Ornette Coleman).flac" WAVE
INDEX 01 00:00:00
Об альбоме
Ernest Hemingway might have said it best: "All you have to do is write one true sentence. Write the truest sentence that you know." For musician Joe McPhee, delivering that one true sentence has been his motivation since the 1960s.
An in-demand improviser, he can be heard in multiple settings including the bands of Peter Brotzmann and Ken Vandermark, as a guest of the Deep Listening Band, Trespass Trio and Decoy, and with the rock band, Cato Salsa Experience. He maintains his longstanding association with Dominic Duval and Jay Rosen in Trio X, and can also be heard in an Albert Ayler tribute band. His duo recordings find him with the likes of Evan Parker, Joe Giardullo, Daunik Lazro and Michael Bisio but is, perhaps, best heard with drummers Paal Nilssen-Love and Hamid Drake.
The question may be whether he wrote that "one true sentence" in a Swiss farmhouse in 1976. The out-of-print solo recording, Tenor (Hat Hut, 1977), and its subsequent reissue, Tenor & Fallen Angels (Hatology, 2000), is a stunning session that has been referenced by many a musician (and journalist) as a life-changing listening experience.
McPhee has since recorded a half dozen solo sessions, including this live date (although the audience is never heard) from the 2012 Slovenian Ljubljana Jazz Festival. Setting his tenor saxophone aside, he plays two lengthy pieces: first, a tribute to Don Cherry on a pocket trumpet; then an alto saxophone salute to Ornette Coleman. Neither piece is imitative, nor are they peppered with covers of the two great men. McPhee choses, instead, to delve into the meditative and sonic outposts of the two chosen instruments.
"Episode One (for Don Cherry)" begins beyond the trumpet, in silence. Then comes the breathy blown non-note, a combination of vocalizations and air. McPhee invents his horn, or maybe reinvents music here. From the purity of first sounds comes tentative notes, trills and splats. He whispers and summons a tale of memory here. Same for his take on Coleman and "Episode Two." A bit of a saxophone workout, McPhee exercises a trip around honking corners before dropping some blues: a sort-of melancholy hymn. The performance is more a storytelling then musical experience; maybe McPhee's one true sentence. (Mark Corroto)
Being Joe McPhee must be wonderful because with his music he has the ability to touch the most delicate strings of your heart. In 2011 he opened the third day of the Chicago Tentet+1 residence to celebrate Peter Brötzmann’s 70th birthday at Café Ada in his hometown Wuppertal with a dedication to the late Billy Bang. It was a blues meditation on soprano sax which almost drove the audience to tears.
But being Joe McPhee must be hard work as well. When you’ve still been blowing miracles out of your lungs every day for forty years (and being among a fistful of unbreakable free jazz veterans), when you’ve been constantly promoting the logical evolution of your lifetime’s musical paths as much as you’ve been getting involved in a countless number of embodiments in the musical scenario without boundaries, there must have been some kind of strange and strong fluid running through your veins. One day you’re on stage guiding the transcendent guitar feedbacks of some rock outsider, the other day you team up with some polyhydric noise creator, or you are just spending a two-day-residence-gig melting in the glorious “dirty Chicago Tentet” at Café Oto driven by one of your old comrades. No time to mess around!
So what happens when you are alone with your horns and brasses again? When your sound is so unveiled after so much time and so many experiments? Well, see above.
McPhee is in no hurry, he takes all the time he needs to warm up his instrument like a kid getting confident with his new toy (he!). On his new album “Sonic Elements” the dedication of “Episode One” to Don Cherry is rather to be intended as a homage to a trailblazer in the use of the pocket trumpet as improvising instrument than a reference to the grand old trumpeter. McPhee silently inflates the pipes, enjoying every single rasp coming from his breath coalescing in shrieking clusters, slap-tonguing on the mouthpiece, clawing the metal and murmuring. The evolved phrases of his musical speech coming after this long intense prelude seems to come from a sort of second adult self replacing the former embryonic one.
Following this imaginary path of growth doesn’t surprise the use of the voice filtered through the instrument, as a new step of evolution and conscience. If the artist already faced two of the four classical elements (“Air” in the first minutes of this sonic journey and “Earth” through the human voice) the closing minutes are plunged in the “Water”. The musical fluid flows along the piston valves, the “Air” pulls back among the dropping sizzle of the overstuffed pipes. McPhee preserves the clash of “Earth” and “Fire” for his beloved blues and alto sax and dedicates “Episode Two” to Ornette Coleman – and what a majestic and outstanding blues manifesto it is indeed! But not necessarily in the case of Coleman’s Texas blues feeling (or his harmolodics), even if the track starts like it. McPhee triggers off light-footed lines displaying his incredible musicianship on the instrument (but there is definitely no showing off) before he turns to a Steve-Reich-like minimalism, to repetitive phrases, and hoarse croaking. He even produces rock phrases in this wild, yet elegant mix before he intersperses pointed trills, wild runs, and desperate cries only to return to minimalist phrases again. The cement that holds everything together is his down-to-earth Mississippi blues sound, these beautiful dark lines which are so fragile that they seem to be torn apart, in its foot-dragging this music is of the utmost beauty and melancholy.
The album was recorded at Cankarjew Dom, a concert hall in Ljubljana/Slovenia in 2012. It is one of the most fabulous recent solo recordings and we highly recommend it, because being Joe McPhee is most of all being pure joy for all the listeners. (Janus and Karl)
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