(Free Jazz, Avant-Garde) Harris Eisenstadt September Trio (Ellery Eskelin, Angelica Sanchez) - The Destructive Element - 2013, FLAC (tracks+.cue), lossless
Треклист:
HARRIS EISENSTADT SEPTEMBER TRIO THE DESTRUCTIVE ELEMENT
Жанр: Free Jazz, Avant-Garde
Страна-производитель дискa: Portugal
Год издания: 2013
Издатель (лейбл): Clean Feed
Номер по каталогу: CF276
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 49:34
Источник (релизер): спасибо 6060842
Наличие сканов в содержимом раздачи: нет
Треклист:
1. Swimming, then Rained Out
2. Additives
3. From Schoenberg, Part One
4. Back and Forth
5. Ordinary Weirdness
6. The Destructive Element
7. Cascadia
8. From Schoenberg, Part Two
9. Here Are the Samurai
Eisenstadt Harris - drums, compositions
Eskelin Ellery - tenor saxophone
Sanchez Angelica - piano
Страна-производитель дискa: Portugal
Год издания: 2013
Издатель (лейбл): Clean Feed
Номер по каталогу: CF276
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 49:34
Источник (релизер): спасибо 6060842
Наличие сканов в содержимом раздачи: нет
Треклист:
1. Swimming, then Rained Out
2. Additives
3. From Schoenberg, Part One
4. Back and Forth
5. Ordinary Weirdness
6. The Destructive Element
7. Cascadia
8. From Schoenberg, Part Two
9. Here Are the Samurai
Лог создания рипа
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XLD extraction logfile from 2013-05-18 20:20:46 +0400
September Trio / The Destructive Element
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Содержание индексной карты (.CUE)
TITLE "The Destructive Element"
PERFORMER "September Trio"
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Об альбоме
Press release
Harris Eisenstadt presents The Destructive Element, by September Trio, with Angelica Sanchez and Ellery Eskelin. This is September Trio’s second release and Eisenstadt’s 14th recording as a leader. The band first performed at The Stone in 2010 and released their first album in 2011. Critic Stuart Broomer wrote of their eponymous debut: “It’s unlikely that there’s ever been a CD quite like this one,” in reference to a program of compositions by a drummer made up almost entirely of ballads. The Destructive Element features wide-open ballads and blues alongside longer-form pieces.
“The music for our first record just kind of spilled out of me,” Eisenstadt remembers. “This time, I knew we had the opportunity to play two sets most nights for ten days, so I wanted to bring a variety of pieces in. I love the way Ellery and Angie both have gruffness and lyricism in their playing. Those kinds of contrasting inclinations appeal to me.”
Eisenstadt wrote the album’s title track originally for voice and piano. Ellery Eskelin’s warm, robust tenor delivers the vocal melody as though declaiming the words themselves. “I was stunned by Joseph Conrad’s Lord Jim as an English major in college in the mid-late 1990s,” Eisenstadt recalls. “I had a particularly influential professor, John Mizner, who I took course after course with; ‘Introduction to Literature,’ a month-long intensive on Beckett, ‘Romantic Heroes and Anti-Heroes,’ ‘Literature of Existentialism,’ then an independent study on Conrad’s Lord Jim.”
Conrad’s contention that in order to live authentically humans must submit themselves to the sometimes joyous, sometimes painful act of amassing experiences struck a chord. “It’s one of the things I admire about Arnold Schoenberg as well. He wrote the music he heard, year after year, for a lifetime. He resolved to submit himself to the destructive element - writing music, finding ways to get it played, often in the face of great adversity, even when forced to flee Europe and start a new life in the US.”
“From Schoenberg Part One” and “…Part Two” borrow materials from Schoenberg’s Concerto for Violin and Orchestra. “There’s a sadness to the Concerto but also a hopefulness. Schoenberg had recently fled Europe and had just been hired at UCLA. He’d left everything behind but also been given a new and vital opportunity.” We can hear the push and pull of somber and optimistic turns the two pieces take, the insistent short saxophone/piano unison bursts behind a kaleidosopic drum solo, the grounded-in-the-bass, soaring-in-the altissimo register counterpoint between Sanchez and Eskelin.
On “Additives,” the trio race through longer and longer rhythmic unisons on their way to open pastures and back. Sanchez’s left hand announces the stately opening of “Ordinary Weirdness,” then Eskelin’s entrance sends us through a constantly shifting backdrop of sustained melodies and shifting piano accompaniment.
Eisenstadt composed “Here are the Samurai” years ago, after seeing Akira Kurosawa’s Yojimbo. “There was this scene when the samurai walk into a village and all havoc is about to break loose. An old woman looks up from the laundry she’s washing and she has this resigned look on her face, like ‘oh boy, here we go.’ For some reason that translated line of dialogue stuck with me as I imagined the drums confronting these repeating, twisted melodic/rhythmic cells played in mostly unison by the saxophone and piano.”
Eisenstadt composed pieces like “Swimming, then Rained Out,” “Back and Forth” and “Cascadia” that trade on an almost Romantic Anti-Heroic approach to composition. “I didn’t just put ballads with simple forms in front of these guys and ask them to play pretty,” he explains. “I find deep satisfaction in composing paradoxically simple/complex themes; sometimes the harmony barely goes anywhere, sometimes we leave it altogether. And melodically, I love giving Ellery and Angie minimal but specific materials for them to craft personal statements from.”
September Trio has grown into a mature and evocative unit, capable of sounding massive at times, while at others hushed. They celebrate the recording’s release at Cornelia Street Café in New York June 20, 2013 then head to Europe later the next week. They will no doubt submit themselves to the destructive element of amassing experiences, of building nuanced and evocative performances, at times subdued, at others raucous, always authentic.
“The music for our first record just kind of spilled out of me,” Eisenstadt remembers. “This time, I knew we had the opportunity to play two sets most nights for ten days, so I wanted to bring a variety of pieces in. I love the way Ellery and Angie both have gruffness and lyricism in their playing. Those kinds of contrasting inclinations appeal to me.”
Eisenstadt wrote the album’s title track originally for voice and piano. Ellery Eskelin’s warm, robust tenor delivers the vocal melody as though declaiming the words themselves. “I was stunned by Joseph Conrad’s Lord Jim as an English major in college in the mid-late 1990s,” Eisenstadt recalls. “I had a particularly influential professor, John Mizner, who I took course after course with; ‘Introduction to Literature,’ a month-long intensive on Beckett, ‘Romantic Heroes and Anti-Heroes,’ ‘Literature of Existentialism,’ then an independent study on Conrad’s Lord Jim.”
Conrad’s contention that in order to live authentically humans must submit themselves to the sometimes joyous, sometimes painful act of amassing experiences struck a chord. “It’s one of the things I admire about Arnold Schoenberg as well. He wrote the music he heard, year after year, for a lifetime. He resolved to submit himself to the destructive element - writing music, finding ways to get it played, often in the face of great adversity, even when forced to flee Europe and start a new life in the US.”
“From Schoenberg Part One” and “…Part Two” borrow materials from Schoenberg’s Concerto for Violin and Orchestra. “There’s a sadness to the Concerto but also a hopefulness. Schoenberg had recently fled Europe and had just been hired at UCLA. He’d left everything behind but also been given a new and vital opportunity.” We can hear the push and pull of somber and optimistic turns the two pieces take, the insistent short saxophone/piano unison bursts behind a kaleidosopic drum solo, the grounded-in-the-bass, soaring-in-the altissimo register counterpoint between Sanchez and Eskelin.
On “Additives,” the trio race through longer and longer rhythmic unisons on their way to open pastures and back. Sanchez’s left hand announces the stately opening of “Ordinary Weirdness,” then Eskelin’s entrance sends us through a constantly shifting backdrop of sustained melodies and shifting piano accompaniment.
Eisenstadt composed “Here are the Samurai” years ago, after seeing Akira Kurosawa’s Yojimbo. “There was this scene when the samurai walk into a village and all havoc is about to break loose. An old woman looks up from the laundry she’s washing and she has this resigned look on her face, like ‘oh boy, here we go.’ For some reason that translated line of dialogue stuck with me as I imagined the drums confronting these repeating, twisted melodic/rhythmic cells played in mostly unison by the saxophone and piano.”
Eisenstadt composed pieces like “Swimming, then Rained Out,” “Back and Forth” and “Cascadia” that trade on an almost Romantic Anti-Heroic approach to composition. “I didn’t just put ballads with simple forms in front of these guys and ask them to play pretty,” he explains. “I find deep satisfaction in composing paradoxically simple/complex themes; sometimes the harmony barely goes anywhere, sometimes we leave it altogether. And melodically, I love giving Ellery and Angie minimal but specific materials for them to craft personal statements from.”
September Trio has grown into a mature and evocative unit, capable of sounding massive at times, while at others hushed. They celebrate the recording’s release at Cornelia Street Café in New York June 20, 2013 then head to Europe later the next week. They will no doubt submit themselves to the destructive element of amassing experiences, of building nuanced and evocative performances, at times subdued, at others raucous, always authentic.
Review
One versatile performer who has taken advantage of Clean Feed’s distribution and promotion is drummer Harris Eisenstadt, and his September Trio, with pianist Angelica Sanchez and tenor saxophonist Ellery Eskelin. Eisenstadt has a multidisciplinary approach which comprises jazz, creative improvisation, African music ensembles and additional musical areas. He earned a B.A. cum laude in literature and music in 1988 from Maine’s Colby College, received a Masters in Fine Arts from the California Institute of the Arts in 2001, and has played with an assortment of artists, including Yusef Lateef, Vinny Golia, Bennie Maupin, Wayne Horvitz, Nels Cline and others. He has worked in the theatre world and composed for indie and mainstream movies. Sanchez is an equally free-form player, who has collaborated with Wadada Leo Smith, teamed with her husband Tony Malaby, and has a string of solo records on Clean Feed. Eskelin has long been a mainstay of the East Coast improv scene, has over 20 albums to his name, and contributed to studio outings by David Liebman, John Hollenbeck and many more.
Eisenstadt’s nine originals vary from lyrical ballads to long-form pieces colored by classical music, and compositions influenced by Japanese film and English literature. Eisenstadt initially penned the short title track for voice and piano, but Eskelin’s warm full-bodied tenor nicely translates the tune’s emotionalism into a horn-driven discourse. The cut was inspired by Joseph Conrad’s Lord Jim, which Eisenstadt studied in university: as Sanchez and Eskelin stream through the poignant melody, one can sense Conrad’s experiential contentions concerning the conjoining of joy and sorrow. Someone else who understood adversity, sadness and hopefulness was composer Arnold Schoenberg. During two related pieces, Eisenstadt echoes Schoenberg’s somber tones and optimistic reflections, with distinctively avant-garde sounds. The lengthy “From Schoenberg, Part One” borrows from Schoenberg’s Concerto for Violin and Orchestra, but in ways which may shock tradition-biased, classical music listeners. Eisenstadt’s roving percussion layers and rhythmic elements are far removed from European classical idioms, while Eskelin’s independently-inclined horn engages spontaneously with harmony and melody. Sanchez builds tension as she moves from chords to single-note stabs, and erects ebb and flow during a demanding sax/piano combination. The terser “From Schoenberg, Part Two,” which comes near the program’s conclusion, maintains a similar expression, while Eskelin develops a repeating phrase which is cornered and then altered by Sanchez, while Eisenstadt adds skittish percussion as bedrock. Conveying music as being cinematic has become a cliché, but that’s the feeling one gets from hearing “Here Are the Samurai,” a tense track prompted by a key incident in Akira Kurasawa’s enduring motion picture, Yojimbo, when Japanese sword-wielders walk into a village. The tune has rolling percussion and a portentous escalation, with reiterating and twisting sections where the sax and piano confront each other, seek the upper hand, and then unify in a heated dialogue. By the end, the clashing samurai in the village streets are vividly portrayed by the increased tempo. Further cuts might lack interesting background stories, but are also vibrant examples of Eisenstadt’s compositional forms, from the hectic “Additives” to the classically-tinged “Cascadia,” which hints at European Romanticism. The recording process is as dynamic as the music, with evocative audio which captures the trio’s sonic breadth, from hushed sax to dissonant percussion, and from whispered brushwork to jarring keyboard flourishes. ~ Doug Simpson
Eisenstadt’s nine originals vary from lyrical ballads to long-form pieces colored by classical music, and compositions influenced by Japanese film and English literature. Eisenstadt initially penned the short title track for voice and piano, but Eskelin’s warm full-bodied tenor nicely translates the tune’s emotionalism into a horn-driven discourse. The cut was inspired by Joseph Conrad’s Lord Jim, which Eisenstadt studied in university: as Sanchez and Eskelin stream through the poignant melody, one can sense Conrad’s experiential contentions concerning the conjoining of joy and sorrow. Someone else who understood adversity, sadness and hopefulness was composer Arnold Schoenberg. During two related pieces, Eisenstadt echoes Schoenberg’s somber tones and optimistic reflections, with distinctively avant-garde sounds. The lengthy “From Schoenberg, Part One” borrows from Schoenberg’s Concerto for Violin and Orchestra, but in ways which may shock tradition-biased, classical music listeners. Eisenstadt’s roving percussion layers and rhythmic elements are far removed from European classical idioms, while Eskelin’s independently-inclined horn engages spontaneously with harmony and melody. Sanchez builds tension as she moves from chords to single-note stabs, and erects ebb and flow during a demanding sax/piano combination. The terser “From Schoenberg, Part Two,” which comes near the program’s conclusion, maintains a similar expression, while Eskelin develops a repeating phrase which is cornered and then altered by Sanchez, while Eisenstadt adds skittish percussion as bedrock. Conveying music as being cinematic has become a cliché, but that’s the feeling one gets from hearing “Here Are the Samurai,” a tense track prompted by a key incident in Akira Kurasawa’s enduring motion picture, Yojimbo, when Japanese sword-wielders walk into a village. The tune has rolling percussion and a portentous escalation, with reiterating and twisting sections where the sax and piano confront each other, seek the upper hand, and then unify in a heated dialogue. By the end, the clashing samurai in the village streets are vividly portrayed by the increased tempo. Further cuts might lack interesting background stories, but are also vibrant examples of Eisenstadt’s compositional forms, from the hectic “Additives” to the classically-tinged “Cascadia,” which hints at European Romanticism. The recording process is as dynamic as the music, with evocative audio which captures the trio’s sonic breadth, from hushed sax to dissonant percussion, and from whispered brushwork to jarring keyboard flourishes. ~ Doug Simpson
Состав
Eisenstadt Harris - drums, compositions
Eskelin Ellery - tenor saxophone
Sanchez Angelica - piano