Ingrid Laubrock – Contemporary Chaos Practices: Two Works for Orchestra (Intakt Records)
Ingrid Laubrock’s Contemporary Chaos Practices: Two Works for Orchestra has to be one of the most ambitious recording projects of 2018. So many things can, and usually do, go wrong when writing to achieve a faithful orchestral performance, let alone capture an acceptable recording of that performance – it’s a wonder anyone would ever take on such an absurd task. Laubrock has attempted a first recording of her works for orchestra on CCP, and has succeeded splendidly.
She initially wrote “Vogelfrei” for the second Jazz Composers Orchestra Institute Reading, performed by the American Composers Orchestra at Columbia University in 2013, and subsequently wrote “Contemporary Chaos Practices” for the 2017 Moers Festival. Augmented by soloists Mary Halvorson on guitar, Kris Davis on piano, Nate Wooley on trumpet, and Laubrock on saxophones and double-conducted by Eric Wubbels and Taylor Ho Bynum, the two pieces that comprise the record explore a full spectrum of performance/improvisation and of sound itself.
CCP is a wide world in which to spend a great deal of time in order to absorb the many intricacies of the music. A video component would have been most instructive, particularly to witness the conduction component at play with the soloists, but beggars can’t be choosers. Perhaps on volume 2…
David Virelles – Igbó Alákọrin (The Singer’s Grove) Vol. I and II (Pi Recordings / El Tivoli Music)
On the surface, a rootsy Cuban big-band and piano record seems out of place on Brooklyn’s Pi Recordings: consonance, symmetry, and tradition are not words that typically come to mind when thinking of perhaps the most progressive label on the planet. But then you spend time with Igbó Alákọrin (The Singer’s Grove) Vol. I and II by pianist and composer David Virelles and you quickly realize that it all makes sense because, like the other releases on the label, this one has excellence (and a sprinkling of signature Pi-quirk – see/hear “Sube La Loma, Compay”) written all over it.
Look, it’s no secret that I am no expert in Cuban music, but I do know that all of the classical-like tunefulness, jubilance, and repetitive drive found therein is also on magnificent display on Igbó Alákọrin. Virelles set out to celebrate the lesser-known musicians of Santiago de Cuba, and what a party it is. So much fun is had that a well-deserved break from the daily grind of global political turmoil is granted, if for a moment. The nine songs of volume 1 are with Orquesta Luz de Oriente featuring the wonderfully expressive vocals of Alejandro Almenares and Emilio Despaigne Robert and the five on Volume 2 are performed by Virelles alongside güiro player Rafael Ábalos.
Turn off the tv, put down the newspaper, and spin this record. Both your head and your heart (and your nerves!) will thank me later. Virelles’ deep commitment to research and building upon his already stellar body of work continues to impress and yield damn fine sounds!
Will Brooks and Mike Mare from New Jersey group Dälek have started a new project called Anguish, and it is an undeniable exercise in creating the darkest of moods, not unlike a Bill Laswell production from the late 80s/early 90s. They have brought keyboardist Hans Joachim Irmler from German krautrock legends Faust, as well as tenor saxophonist Mats Gustafsson and drummer Andreas Werliin from Fire! Orchestra along for the ride…and what a heavy, head-knoddingly excellent ride it is.
The tone of Anguish is decidedly bleak, a result of not only the maniacal blowing of Gustafsson, but also the hard-hitting, hyper-realistic lyrics and gritty, teeth-barring production of Brooks. Recorded in just three days during the summer of 2018 at Faust’s Scheer, a repurposed factory in Swabia, Germany, this is not music for the faint of heart. That said, Anguish does more in its little over 40 minutes to energize me than most releases this year – it’s a rally cry for those who refuse to stand idly by while injustices pile up by the minute.
Even if it might not initially sound quite right on paper, this collaboration makes perfect sense and the fruits of it are outstanding. I can’t get enough of this stuff.
Marcus Strickland – People of the Sun (Blue Note Records / Revive Music)
I really dig how Brooklyn composer-saxophonist Marcus Strickland continues to shoot for a fresh approach with his new Blue Note release, People of the Sun. Continuing the work he started with Meshell Ndegeocello on 2016’s Nihil Novi, there is no doubting the appeal of the band, production, and arrangements, and I anticipate a hit with this one, inasmuch as there can be a hit in 2018.
Strikland convened his Twi-Life group (organist Mitch Henry, bassist Kyle Miles, and drummer Charles Haynes) for POTS to take a stroll through all the great black music that has help shape him into the musician he is in 2018, namely West African griot and Afrobeat as well as post-bop, funk-soul, and beat music. The stew he has created here is quite delicious and always heavily grooving. He has also apparently really gotten into the bass clarinet, which is always a plus in the right hands, and in Strickland’s, it is.
This record works in no small part due to the fact that it’s not trying so hard to be a jazz record on Blue Note: the inclusion of undeniably non-jazz vocal performances by Bilal, Pharoahe Monch, Greg Tate, Akie Bermiss, and Jermaine Holmes is a very smart step forward in getting great music in front of a bigger audience without spinning wheels or sacrificing integrity.
Patrick Shiroishi – Sparrow’s Tongue (Fort Evil Fruit)
Patrick Shiroishi is a Japanese-American multi-instrumentalist & composer based in Los Angeles, CA who is building quite a resume with an array of interesting creative musical projects, most recently, The Musical Tracing Ensemble, Danketsu 9, and Sunreader. He has also just released his sixth solo saxophone record, Sparrow’s Tongue.
ST features Shiroishi on alto, tenor & soprano saxophones, field recordings, and snare drum, with poetry (tankas) by Shiroishi’s grandfather, Seiji Inoue, which is recited by his mother, Uzuko Shiroishi. In the artist’s words, “two pieces focus in on overtones via tenor and alto, two pieces focus on playing the alto and soprano simultaneously, with the fifth piece playing the soprano into a snare drum to create a kind of feed-back with the instrument interplaying with an audio recording of an atomic bomb slowed and reversed.”
Overall, it is quite a minimal affair, creating intriguing impressions through subtle extended saxophone techniques, the juxtaposition of disparate ambient environments, and recited Japanese poetry – one tanka translates to “I know my spirit will separate from my body someday / but now, my spirit heats me up”. This being my first experience with Shiroishi’s work, I am intrigued to see where he goes from here, as I like what I hear.