(Free Improvisation) Jack Wright, Carol Genetti, Jon Mueller - Nom Tom - 2005, FLAC (tracks+.cue), lossless

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Jack Wright, Carol Genetti, Jon Mueller / Nom Tom
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REM GENRE Avantgarde
REM DATE 2005
REM DISCID 0F0AB502
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Jack Wright, Carol Genetti, Jon Mueller"
TITLE "Nom Tom"
FILE "01. Untitled 1.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Untitled 1"
    PERFORMER "Jack Wright, Carol Genetti, Jon Mueller"
    INDEX 01 00:00:00
FILE "02. Untitled 2.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Untitled 2"
    PERFORMER "Jack Wright, Carol Genetti, Jon Mueller"
    INDEX 01 00:00:00

This trio consists of JACK WRIGHT, a sound-explorer on saxophone from Easton PA, CAROL GENETTI, a sound vocalist (as opposed to word or text) from Chicago, and JON MUELLER, percussion/electronicist of Milwaukee. Their first meeting was Sept. 2004 in Chicago, followed by another in June 2005, and then in the falla very broad tour through the Midwest--Milwaukee, Madison, Minneapolis, St. Louis, Nashville, Lexington, Pittsburgh, Columbus, Bloomington IN, and Chicago. These events were preceded by years of collaboration between Jack and Carol, who have toured several times on the east coast. The discovery of Jon Mueller to form the trio was a moment that expanded the dimensions of their music greatly. The focus of the trio is on long, twisting lines of intense and sustained textures, broken abruptly by stuttered gaps and shifts of direction. They take acoustic instruments to the very edge of electronic sounds (indeed Jon is playing only snare drum, minimally amplified). In the Spring 2007 they will be performing at a festival in France and will be touring in April in France and the Netherlands
Their first CD, Nom Tom, was released in fall 2005 on Spring Garden Music (reviews below). The second will be released later this year.
The duo of Carol and Jack is featured on "The Shattering", a cd compiling Carol's appearances at the High Zero Festival 2000 in Baltimore. "It would certainly appear that Genetti is Wright’s vocal collaborator of choice. Genetti’s refreshing and rough-edged spontaneity definitely educes some of Wright’s best playing, perhaps because Wright’s aesthetic approximates a search for the ineffable qualities of the human voice in his palette of reed sounds, not to mention the ineffable vocal qualities of other animal species."
Michael A Parker
***
Nom Tom is a nuanced and rigorous close-listening affair that is Beckettian in its severity and asceticism. Chicago sound vocalist, Carol Genetti, has astonishing breath and vocal control; her fearless, elastic warbles ranging from stuttering rhythmic cries to tonsil stretches to melodic swoops to nasal Tuvan-style drones. Wright deftly adapts to the strength of his collaborators, in this case to Genetti's air-generated intonations and exultations and the feedback and the Gatling gun brush and stick work and roll's from Mueller's amplified snaredrurns. The first track is really a precursor to the second, where Genetti's baying, shenai-like machine gun wails and Wright's snorts and bear-like growls collide like two wild animals in a death struggle, while Mueller plays the spoiler, inflicting pain on both of them.
Richard Moule
***
NOM TOM finds Wright working in a trio with Jon Mueller and Carol Genetti. The three zero in on micro-detailed interplay, eschewing the more linear physicality of the reed duet. Genetti's extended vocal technique immediately jumps out, bereft of any ties to speech or song-form phrasing. Instead, she stretches her vocal chords around hisses, hushed ululations, and cracked sighs and groans. Wright responds in kind, favoring breathy tones, pad-pops, and pinched overtones; masterfully modulating the dynamics of his alto and soprano to fit in to the ensemble. Mueller's amplified snare drum is more a sound generator than a percussion instrument. For most of the set, he uses the amplified head of the drum as a resonator to project quietly nuanced scrapes, rattles, and buzzes. There is nothing subdued or reserved about the playing though. This is particularly true of the second track where the three quickly build dynamics and density of activity and then drop down to a simmering buzz, only to be ratcheted up again. The carefully paced tension is maintained throughout.
Michael Rosenstein
***
These two extended improvisations feature the indefatigable road warrior of American improv, saxophonist Jack Wright, with two younger playing partners, percussionist Jon Mueller and vocalist Carol Genetti. Genetti is one of the more discreet improvising vocalists: there are no full-blown hysterics and theatrics here, just a patient exploration of tiny twitters, bleats and delicate overtones – imagine a small furry animal Tuvan throat singing – and Wright accordingly spends much of the time with his sax jammed tight against his trouser leg, muffling and filtering the sound much as he did on the exquisite series of albums he released a while back in the company of Bhob Rainey. Mueller's the wild card here, deftly avoiding classic improv percussion's nervous clatter and ping to concentrate on in-depth research into his beloved snare drum. The second track is more adventurous, filling the empty spaces of long dead reductionism with a whole range of sustained sonorities; about halfway through it turns into a veritable jungle (Indian, presumably, given the album title's reference to North Indian classical music), with Genetti squawking like a demented parrot and Wright growling menacingly in the undergrowth, while Mueller ticks away like a death watch beetle, leading the others into a nocturnal hooting contest. It's fascinating, superbly paced and impressive work, well worth checking out.
Dan Warburton
***
Nom Tom Trio, recorded in September 2004, shows Wright in the aspect of the masterful player, which the third piece of the puzzle will confirm. Not that Wright overflows with authoritarianism, but because his playing radiates outwards towards all the music and makes other musicians play differently. It’s a music of low volume, a music open to the sky, of sounds produced for themselves like animal sounds, without concern of being heard or understood, music prehistoric or a-historic by the simplicity of its elements and the naturalness of the the way the musicians relate to each other and to the music. No affected brilliance, that would not allow them to be together. Carol Genetti sings without words with a very clear voice, with great economy, a chosen placement of voice and intonations of an extreme perfection. This music and the medium that presents it (on each CD Carol Genetti stitches a design by machine) represent a form of instantaneous perfection whose feeling forcefully invades the listener.
Noel Tachet
***
Jack Wright continues to be the greatest free jazz saxophonist you’ve never heard. But that is his calling, not his choice. He travels the land playing for audiences of two to two hundred, can teach a very inspired history lesson, or scramble some eggs. It makes no difference to him. Wright chose his path long ago, placing creativity above popularity, sound generation above melody.
Recently, more artists have come forward with similar ideas of improvisation. Together they are winning over listeners (sometime literally) one at a time. These two lengthy tracks, released as CD-Rs on Wright’s Spring Garden Music label, feature the saxophonist with Chicago vocalist Carol Genetti and Milwaukee percussionist Jon Mueller.
Genetti’s wordless vocals—think of her as a singing Axel Dorner—set the mood for both Wright and Mueller to keep this affair at its minimalist best. Genetti’s murmurs, groans, fidgeting overtones, and throat singing avoid the screeching and shouting you might have expected. Wright either stuffs his saxophone with a cloth or plays against the fabric of his pants to keep within the temper of the two pieces. For his part, Mueller, playing an amplified snare, allows for his small gestures to keep the flow of this music continually moving ahead.
The attraction here, like the direction of more and more improvisation, is the subtle nuances that space and silence grant the listener's imagination. The slightest sounds now available on digital recordings can be the fizzle and pop produced by the artist. The inspired smaller gestures seem to have more to say here than most “improved” recordings these days.
Mark Corroto
***
Since the end of the 1970's, saxophonist Jack Wright has displayed an unconstrained hard-line policy concerning his way of approaching improvisation. Destroyer using unusual gestures, he has also worked at the sides of John Butcher, William Parker or Michel Doneda, that initiated more confidential groups, for little that they can hope to hold of the happy combination.
It is in this category that NomTom could be ranked, a trio that Wright forms at the side of the vocalist Carol Genetti and the percussionnist Jon Mueller. On this concert recording going back to 2004 the musicians weave two experimental pieces thus holding of the new.
Covering the field of the unspoken as, initially, with the sound of the overlap of the incartades free of the saxophonist, murmurs, breaths and expiries of Genetti, and accents enthusiastic which exemption the clear case. Driven back lyric sentences and virulence out of silencing device are of setting, before the beater decides to accelerate the discursive matter for better crossing short to the moanings and other breaths preaching the impurity. Then, the 3 speakers invade space more concretely, the notes are done clearer, everywhere - saxophone and voice. The amalgam, more effective, not with the shelter, however, of a sudden relapse. There near to the alleviating rail of the digeridoo, the voice of Genetti will convince the trio to remain about it. After having tried out and having reflected all at the same time.
Guillaume Grisli
***
Even with Snailmail musical information exchange becomes by CD-R and completely in DIY direction a rapid and casual affair. For the Coverdesign of Nom Tom (SGM 14, CD-R) sat down the Vokalistin CAROL GENETTI personally to the sewing machine and quilted ever individual thread graphics. My copy ziert a kind aphasischer Christmas tree. The contribution to SGMs Ears Only row developed for live in Chicago with a roofridge DATE of Genetti, Labelmacher JACK WRIGHT with its Alto &Sopranosax and the Perkussionisten JON MUELLER already BA relevant in the Crouton context, who here however only its strengthened Snaredrum abstaubte. While it ticks less in the underground and tockt and scheppert as rather only ominoes scrapes and schnarrt metallic, muffelt, faucht and WRIGHT strangled, half suffocated compressed air from its tire pumps spotzt and Genetti aechzt and kraechzt in addition with pain and oh like garottiertes a something, like an asthma accumulation, how someone, to which a fishbone is in the neck. It gurrt and keckert and Oeoeoeoet and Haeaeaet, intoniert "fish Nachtgesang` and spells glossolalisches Abracadabra, intersperses Ami Yoshida and Lauren Newton Parodien and puts at all a loose mouth work to the day. Into the second xundzwanzig minutes it enters with Throatgesang, Mueller lets on its blechtrommel of bang frogs burst, to WRIGHTS blockage finds a thin, cheeping furzelnden exit, saxophone and a Kehlkopf imitates itself mutually, Mueller comes into rolling and Tickeln, Genetti shrills like a hysterischer Kakadu, the Snare becomes the steam locomotive, white the devil, who drove in the meantime into Genettis throat, how. If no challenge is the Exorzismuszoeglinge new for Benedikts?
***
Carol Genetti's voice patches splintered memories of ancient times without forcing your attention on her subdued creativity, necessary like oxygen in such a context. Tiny harmonics, uncertain hissing and amicable Tuvan revolutions are gently sustained by Jon Mueller's minimal intrusions, as the Milwaukee percussionist - one of the shrewdest snare drum microscopist on the free music scene - blocks unwanted irregularities by keeping intensity levels equal to the beating of wings of a scared butterfly, his timbral palette constantly updated by more than adequate experiences and fine ears. Jack Wright's saxes (alto and soprano) give us the impression of being the regulating valve in a complex breathing apparatus, the immediacy and the pulse discarded in favour of a more controlled ideology which, in this live recording, allows Wright's just presumed phrasing to assume a monitoring role for an extremely frail, yet still functioning body of sound.
Massimo Ricci, Touching Extremes
***
The trio of Carol Genetti, sound vocalist of Chicago; Jon Mueller, percussionist--here, amplified snare drums; and Jack Wright, on alto and soprano saxophones. This is a recording of their first meeting as a trio, at a performance at the Spare Room, in Chicago in September 2004, recorded by Neil Jendon. Jack and Carol have been playing together regularly since the late nineties. Jon lives in Milwaukee and is the creator of the Crouton label, and frequents Chicago whenever. This trio toured in Sept. 2005 throughout the midwest and has ambitious plans for the future that they are keeping secret. More on Carol here and Jon there.
"Genetti is one of the more discreet improvising vocalists: there are no full-blown hysterics and theatrics here, just a patient exploration of tiny twitters, bleats and delicate overtones – imagine a small furry animal Tuvan throat singing – and Wright accordingly spends much of the time with his sax jammed tight against his trouser leg, muffling and filtering the sound. Mueller's the wild card here, deftly avoiding classic improv percussion's nervous clatter and ping to concentrate on in-depth research into his beloved snare drum. The second track is more adventurous, filling the empty spaces of long dead reductionism with a whole range of sustained sonorities; about halfway through it turns into a veritable jungle (Indian, presumably, given the album title's reference to North Indian classical music), with Genetti squawking like a demented parrot and Wright growling menacingly in the undergrowth, while Mueller ticks away like a death watch beetle, leading the others into a nocturnal hooting contest. It's fascinating, superbly paced and impressive work, well worth checking out."
Dan Warburton, Paris Transatlantic, Nov. 2005

Carol Genetti, voice
Jack Wright, alto and soprano saxes
Jon Mueller, amplified snare drum