Tag Archives: Lacerba

Notebook reviews by Tom Hull

CF 272Sophie Agnel/John Edwards/Steve Noble: Meteo (CF 272)
Pianist, b. 1964 in Paris; tenth album since 2000, a trio with Edwards on bass and Noble on drums. Free, the piano often lurking as bass and drums set up a forest of uncertainty, but very impressive when it all comes crashing together. B+(***)

CF 276Harris Eisenstadt September Trio – The Destructive Element (CF 276)
Drummer, b. 1975 in Toronto, father was also a drummer; has been prolific since 2002 — AMG lists 14 records, one (looks like) a dupe, but hasn’t logged this one yet. One of the best of those was his 2011 September Trio with Ellery Eskelin on tenor sax and Angelica Sanchez on piano. Same group here: Eskelin is superb at stepping around the rhythms, while the pianist burns right through them, adding more along the way. A-

CF 271Ellery Eskelin/Susan Alcorn/Michael Formanek: Mirage (CF 271): Tenor sax, pedal steel guitar, bass. Main mystery here is Alcorn, who has an album with Dr. Eugene Chadbourne titled An Afternoon in Austin, or Country Music for Harmolodic Souls (Boxholder; I haven’t heard it). She’s hard to follow here, merging into the bass and rarely coming out. Eskelin responds with ballad volume, but with no one offering him a groove he has to tiptoe around the uncertainty. B+(**)

CF 275Lama + Chris Speed – Lamaçal (CF 275)
Live at Portalegre Jazz Fest, they say “10o edition” but mean 2012. Speed, who should need no intro, plays tenor sax and clarinet. Lama is a trumpet trio led by Susana Santos Silva, with Gonçalo Almeida on bass and Greg Smith on drums, both also dabbling in electronics, and this is their second album. A little slow on the start, but when the horns get working they bounce off one another splendidly. B+(***)

clean feed made to break layout TEXTO DIFERENTE - ROJOMade to Break – Provoke (CF 273)
Ken Vandermark group, with V5 drummer Tim Daisy, Devin Hoff on electric bass, and Christof Lurzmann on “lloopp” — a free software package for live-improvising on a computer. Three longish (19, 20, 24 minutes) Vandermark pieces, dedications to John Cage, Buckminster Fuller, and Marshall McLuhan. The electronics have some difficulty gaining traction, and never amount to more than background, so this reduces to Vandermark’s performance: a little screechy on clarinet, but a powerhouse on tenor sax. Group also has a new LP (vinyl only) called Lacerba, which I didn’t get. B+(***)

CF 269Trespass Trio + Joe McPhee – Human Encore (CF 269)
Trespass Trio is Martin Küchen (alto/baritone sax), Per Zanussi (bass), and Raymond Strid (drums). They’re one of several groups I file under Küchen, their two previous albums less successful than the larger Angles. McPhee, a double threat on tenor sax and pocket trumpet — split here is 5 cuts to 4 — plays with everyone, often blowing them away. He doesn’t do that here, perhaps because Küchen doesn’t challenge him; they just negotiate odd angles, as they are wont to do. B+(**)
http://www.tomhull.com/ocston/notebook/latest.php

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Free Jazz review by Martin Schray

PrintMade To Break: Lacerba (CF 274)
****
“Lacerba” was the name of an Italian literary magazine that wanted to spread the ideas of futurism, a movement emphasizing and glorifying issues associated with concepts concerning the future – including technological progress, youth and violence. The most famous authors were Giovanni Papini and Ardengo Soffici but Tommaso Marinetti, Pablo Picasso, Guillaume Apollinaire and Stéphane Mallarmé were also among the contributors. Futurist music claimed to reject tradition and introduced experimental sounds inspired by machinery, it was mainly set against backwardness and mediocrity. One of the most prominent figures, Luigi Russolo, published The Art of Noises which became something like a guideline for the musical aesthetics of the movement. Russolo defined instruments as acoustic noise generators so that he can pay homage to, include or imitate machines – his ideas influenced Stravinsky, Edgar Varèse, Stockhausen and John Cage.

Ken Vandermark (reeds) has a profound knowledge of classical music (he studied with Morton Feldman) and although he does not completely reject tradition his new project Made to Break pays tribute to the futurist era not only because electronic noise plays an important role in the band context, which features Christof Kurzmann (electronics), Devin Hoff (e-bass) and Tim Daisy (drums).

Like classical futurist music the first track, “Vita Futurista (for Dick Raaijmakers)”, imitates technology, a dark baritone saxophone sound reminds of a foghorn before the real machine sets in: Kurzmann’s electronics sound like a limbo created by Edgar Allen Poe, there are static loops, a pulsing and scraping that gives you the creeps in a very subtle way. But futurism is not only about darkness, and after four minutes, when the bass turns in playing a super groovy Michael-Henderson-riff and Vandermark slaps out a soulful theme, the band has transformed into a 1980 New York No Jazz group – raw, funky, straight, hardcore. And just when you get used to it, the band makes another U-turn and after 17 minutes – out of the blue – they devote themselves to absolute beauty. The structure of the “Pursuit (for Alberto Giacometti)”, the second track of the album, is similar to the first one. It starts with a very lyrical passage which is close to chamber music before it turns into something completely different. Vandermark’s alto is close to the pain barrier and only Hoff’s electric bass brings him back to solidly grounded jazz rock. Hoff is the driving force in this track anyway, the copula between the different parts.

“Lacerba” is futurist in a postmodernist sense, it uses different elements of jazz history and combines it to something new.
http://www.freejazzblog.org/

Jazz.pt review by Gonçalo Falcão

PrintMade to Break – Lacerba (CF 274)
Classificação: 4,5/5

Com quase trezentos CDs editados em 12 anos, a Clean Feed lança agora o seu primeiro LP. E porque o primeiro de alguma coisa é sempre um momento especial, trata-se do registo em Lisboa de um grupo inédito de Ken Vandermark, Made to Break, com Christoff Kurzmann, Devin Hoff e Tim Daisy. Foram três dias de concertos gravados por João Serigado, dos quais se seleccionaram os melhores minutos para prensar dois discos: o CD “Provoke”, já lançado, e agora o LP “Lacerba”.
A novidade no som é grande, sendo claramente um disco vandermarkiano. O grupo parece seguir as pisadas de Spaceways Inc., o grupo mais “funky” do saxofonista, mas as personalidades dos instrumentistas e a utilização de composições abertas fazem a música inclinar-se para direcções mais abstractas: se numa pintura é fácil apercebermo-nos da sua estrutura – pois ela apresenta-se inteira aos nossos olhos e identificamos padrões, áreas, formas de organização –, na música essa percepção é muito mais difícil, pois ela desenrola-se no tempo e nem sempre conseguimos perceber o sentido e a organização dos sons.   Vandermark tenta resolver este problema criando pontes de ligação com o ouvinte: no meio de uma enorme liberdade aparecem linhas de baixo, “grooves” que nos ajudam a simpatizar com a música, a entrar no tema e a construir pontos de contacto. Em suma, a arranjar elementos que reconheçamos e com os quais nos possamos envolver. O que ouvimos é a procura de um compositor para criar novos caminhos para o jazz, novas formas de o fazer funcionar, mantendo-o disfuncional.
A prensagem em vinil está boa e tem um bom som, mas a capa merecia (pelo menos) um cartão com maior gramagem. Quem compra discos de vinil fá-lo por três razões: porque acredita que o som do vinil é melhor que o do CD (o que nestes discos ao vivo é difícil de avaliar), porque valoriza o objecto (a dimensão visual e táctil do vinil faz com que este contentor para os sons seja muito mais afectuoso do que o CD) ou ambas.
Esta forma de usar a composição e a improvisação para estruturar a música faz parte de uma procura de futuros para o jazz. Esse sentimento revolucionário está patente em todos os aspectos do disco, desde o formato de reprodução aos títulos (Lacerba era a revista futurista italiana de Aldo Palazzeschi e Italo Tavolato, impressa a preto e vermelho).
O lado A, chamado “Vita Futurista”, é dedicado a DickRaaijmakers, compositor e dramaturgo holandês nascido em 1930, e o lado B, “Pursuit”, é uma homenagem ao escultor suíço Alberto Giacometti. Imperdível.
http://www.jazz.pt/ponto-escuta/2013/04/06/made-break-lacerba-clean-feed/