New Listen: PRISM Quartet’s ‘Antiphony’

Leave a reply


Artist: PRISM Quartet
Album: Antiphony (2010)

This album is “newish” for me as I got it a few month ago, however I wanted to shift away from jazz for this post, and I was recently able to give this album the careful listen it deserves.  In case you’re unfamiliar, PRISM is arguably the premiere classical saxophone quartet in North America.  The ensemble  has not only championed new music for saxophone quartet (largely outside of France), but it has done much to promote the saxophone within the classical community.  Antiphony (2010), the latest release, features PRISM in collaboration with Music From China, a quartet focusing on both traditional and contemporary Chinese music.  This (at times) double quartet features mostly new music blending Eastern and Western styles.

From the liner notes:
“Representing profound contrasts of timbre and culture, this ‘odd couple’ of traditional Chinese instruments and saxophones bridges remarkable distances of space and time.  The instruments of Music From China…have been played for a millennium or more.  The saxophone, in contrast, bears a French patent dating from the Industrial Revolution.” -Alyssa Timlin, p. 5

(While I don’t/won’t make a habit of quoting liner notes, it’s appropriate in this instance.)

Overall, the two ensembles gel nicely within each composition.  There are only a few instances, for me, in which I’m caught off guard a bit.  All but two of the compositions feature a mixed ensemble. (Lang’s Yuan features saxophone quartet only, and Dun’s Shuang Que for Erhu and Yangqin features only members of Music From China.)  The multi-movement works which bookend the album – Songs for Huqin and Saxophone Quartet and Chinatown, respectively – are the most accessible, helping to ease the listener (especially the layperson) into and out of the more abstract selections.  Songs is one of this album’s many highlights, as its ethereal, almost filmic first movement, “Pastorale,” serves as a wonderful introduction to the album’s materials and overall concept.  PRISM and MFC are introduced separately, but quickly combine into a single lyrical soundscape.  Yuan, however, is arguably the collection’s most abstract composition.  (I attended one of the first public performances of this work by PRISM and experiencing the work in context with the rest of the pieces, it made much more sense to me.)  Many extended techniques are featured throughout – this should be of particular interest for saxophonists – such as multiphonics, slap-tonguing, and playing the mouthpiece alone.

Without going into great detail about each composition individually (that’s not the purpose of these entries, but rather a “quick review), suffice it to say that there’s much variety in this album, featuring many different avenues of the general “East meets West” motif.  What I like most about Antiphony is that the music is organic and genuine, as opposed to the forced “third stream-esque” nonsense that is often the result combining disparate styles (a serious pet peeve of mine).  In fact, the successful blending of both instrumentation and styles make one wonder if the album’s title is a misnomer.  This would make a great investment for any serious classical saxophonist, or anyone interested in new/contemporary music.

Innova (record label) link here
Amazon link here
iTunes link here

Herbie Quote

Leave a reply

I ran across this the other day, and it really struck a chord:

“I don’t mind being classified as a jazz artist, but I do mind being restricted to being a jazz artist. My foundation has been in jazz, though I didn’t really start out that way. I started in classical music, but my formative years were in jazz, and it makes a great foundation.”

New Listen: Duke Ellington & Rosemary Clooney’s ‘Blue Rose’

Leave a reply

Artist: Rosemary Clooney w. Duke Ellington
Album: Blue Rose (1956)

I love standards.  It can’t be denied.  Yes, the Great American Songbook can often be a contentious issue, especially for younger, more “progressive” musicians (of which I classify myself).  Like many other young jazz students, I once found myself heavily frustrated with the aforementioned “Songbook.”  However, I eventually took to heart some great advice offered by both Dave Liebman (a personal idol) and Christian McBride at separate masterclasses: standards are better internalized and understood – and, often, conveyed – when the performer knows the words.  Starting a number of years ago, I decided to seek out vocal renditions of my favorite standards.  Even if the renditions weren’t ideal, I’d have a good lyrical reference.  Blue Rose is the latest stop on this journey.

Like a number of other albums in my collection, I purchased this purely on a whim.  It happened to be in the bargain bin at the local Borders, and oddly enough I had recently been thinking that I wanted another album of old-school, vocally-interpreted standards.   (Also, for reasons I don’t know, I’d also been hunting for a something 40+ years old featuring a female vocalist.  Again, I’m not sure why…)  It turned out to be a worthwhile purchase, and quite a steal (worth more than the discounted price I paid)!

The story behind this album’s production is pretty involved and a bit of a nightmare. Basically, Ellington and his orchestra had to record their parts separate from Clooney, who was unable to travel to the session due to illness.  As a result, Strayhorn had to play more of the man behind the curtain than usual.  Yet, this segmented approach is undetectable for the listener – it sounds as if Rosemary and the boys were all in the same room.  A few disclaimers:

1. For those wanted Ellington barn-burners, this likely isn’t for you.  (If you want something similar to that, I recommend the historic Sinatra at the Sands or the lesser-known Basie Swing Bennet Sings.)
2. Similarly, this disc rarely shines the spotlight on the wealth of strong soloists in Ellington’s orchestra.
3. Clooney, of course, didn’t build her lengthy career on jazz interpretations.  There’s definitely a “pop” element to her approach, however I find it a nice change of pace when mixed with Ellington’s deft orchestral abilities.

Consider this album a nice “other” to John Coltrane & Johnny Hartman.  Tight arrangements, scat- and acrobatic-free singing (which I like), and more lighthearted than Trane’s release.  It’s also a bit more vanilla.  Like Miles’s work with Gil Evans on Columbia, this record was probably quite popular in 1950s white suburbia.  However, it’s not simply glossy pop.  The band does have one instrumental, with Johnny Hodges taking a crooning lead on “Passion Flower,” letting his alto wail above the band. Jimmy Hamilton takes a lively clarinet solo on the up-tempo “I’m Checkin’ Out, Goombye,” and of course the ever-popular “It Don’t Mean A Thing…” lets loose with Jimmy Hamilton (this time on tenor), Clark Terry, and Harry Carney.  Another notable song is the title track, a nearly impressionistic ballad featuring a wordless Clooney melody (written for the occasion).  I suppose one could consider it scatting, but the use of vocables here isn’t to fill out space or improvise a solo, but rather to let the melodic line speak for itself.

Overall I’m quite satisfied with this find.  Not only did I not have this in mind when walking into the store, but I didn’t even know this album existed – a pleasant surprise!  Not only would fans of the Ellington songbook enjoy this album, but also most any fan of the Great American Songbook.

Amazon Link

Danny Barnes’s Invaluable Advice

Leave a reply

My good friend Pat Harris alerted me to this article a few weeks back, and it’s something my thoughts have returned to repeatedly since.  It’s by banjoist Danny Barnes, whom I was hipped to in 2009 after he sat in with Dave Matthews Band for various stops of their 2009 tour.  It’s a distilled, thought-provoking, honest, practical, and highly interesting discussion of what it takes to “make it” in music, written from the perspective of someone who has put in a lifetime of work.  I encourage anyone in a creative field to give it a solid read.

http://www.dannybarnes.com/blog/how-make-living-playing-music

[His most recent album, Pizza Box (2009, available on Dave’s record label ATO Records), is one of my most treasured purchases of the last year, and will surely be the topic of a post in the not-too-distant future.]

New Listen: Jan Garbarek’s ‘Dresden’

Leave a reply

Artist: Jan Garbarek
Album: Dresden (2009)

This week I’m actually discussing a new listen.  I didn’t intend for my first two “new music” entries to be about albums from the same label, but that’s how it goes sometimes.  The last few months I’ve been on a mission to add new names/groups to my collection.  I tend to go “deep” when I really like a person/group, and attempt to be somewhat of a completist with their output.  However, every now and then I’ll realize that I need to add different artists and/or styles.  This was the case with Jan Garbarek.

Being an ECM fan, I was surprised to realize a few weeks ago that I’ve never really listened to Garbarek.  He, along with Keith Jarrett, is the label’s big draw.  I have quite a bit by his associates (Jarrett, Katché, etc.), but nowhere is his horn to be found.  So, upon finding his recent live double-disc release, Dresden (2009), at the store, I decided to give it a try.  The personnel is as follows:
Jan Garbarek – soprano and tenor saxophones, selje flute
Rainer Brüninghaus – piano, keyboards
Yuri Daniel – bass
Manu Katché – drums

I will say that, on the surface, I have a few gripes with this record.
1. First, Garbarek’s soprano tone is largely shrill/nasally – sort of a Michael Brecker-Lenny Pickett-Renaissance shawm hybrid.  Not always, but much of the time.  One factor is his preference for the small curved soprano, something I’ve never warmed to.  Overall his tenor tone is very nice (for me – some may consider it too “harsh” or “pop”), but sometimes the upper register gets some of those soprano-esque qualities.
2. The mix. ECM records usually have a dynamite mix, and there’s almost always a definite “ensemble sound.”  For this record, however, Garbarek often shouts above the rest of the group.  Very top-heavy.
3. Fretless bass – Daniel plays this throughout.  The fretless definitely has its place, but I think this contributes some to the record’s mix issues.  There’s just a lack of a good sonic foundation for a good portion of it. Nowhere near enough low end for my taste.

The above comments, however, aren’t necessarily musical.  They’re definitely musical factors, but they’re more technical than anything.  Sure, they affected my inaugural listen, but once I got past them and listened to the music, I found the album quite enjoyable.  The first disc is much more “world music”-heavy.  (I hate using that term, but there are a lot of vamps and folk melodies/rhythms featured; more so than the second disc.)  Even with some of the tunes having quicker tempos, the overall feel of the first disc is pretty moderate, at times slow.  However, after the first cadenza – each of the sidemen get a few minutes to shine as a soloist – by bassist Yuri Daniel (which is very good – sort of Wooten-esque but without the fireworks), the disc finally kicks into high gear with the Metheny-esque final track, “Milagre Dos Peixes.”

The second disc is more “straight ahead” than the first.  (“Straight ahead” is definitely not the correct term, but there’s more consistent rhythmic interest throughout – definitely no rhythm changes on either of these discs.)  It also features piano and drum cadenzas. (Brüninghaus nearly steals the show on “Transformations,” and Katché offers an energetic transition between the band’s final two pieces of the set before the encore.)  The first 1.7 discs of build to the set’s barn-burner finalé, “Nu Bein’.”  Garbarek opens with a virtuosic selje flute solo before switching back to saxophone for the melody, and each member gets at least a few seconds to shine here. The second disc ends with the show’s encore, “Voy Cantando.”  It’s a piece more akin to the first disc (moderately paced, free-flowing), but with the energy of the second.

(As a side note, Katché’s playing on this album is a stark contrast with that of Third Round. He’s quite intense and aggressive here, and it’s great to hear him excel at both styles.)

After giving this album a few solid listens, I can safely say I’m glad I made the purchase.  However I’ll likely be giving the second disc a bit more attention in the long run. Having not previously experienced Garbarek, I feel like there’s a nice bit of variety in this release, covering the gamut of his output.

Album link:
Amazon