Tag Archives: Russ Lossing

Gapplegate Music review by Grego Edwards

“Twines of Colesion:” Michael Attias and Associates Play Inspired Improvisations

Michaël Attias – Twines of Colesion (CF 188 )Some music hits you from the moment you first hear it. Then it holds up under repeated scrutiny. That is my experience with the latest from alto saxophonist Michael Attias and his Twines of Colesion.

This is a live recording in the best sense. When it comes to free jazz/improvisation, the live setting can bring out energies and inspirations that might otherwise not be engaged in a studio setting. That is very much so here.

It’s a quintet that seems perfectly matched in its outlook and trajectory. Attias on alto mixes it up deftly with tenor-soprano Tony Malaby, and they both do some of their very best playing. Pianist Russ Lossing plays the ultra-modern piano in ensemble and solo with exactly the right concentration of heft and space. John Hebert, bass, and Satoshi Takeishi, drums, throttle any possibility of indifference on the listener’s part by pasting, smearing and cracking through the barriers to any higher plane of collective rapport and substance.

The compositional frameworks are by Attias. They create precisely the right stylistic backdrop for serious space walking.

The results are near monumental. Huzzah to this one!
http://gapplegatemusicreview.blogspot.com/

Advertisements

So Jazz review by Thierry Lepin

Time Out Lisboa review by José Carlos Fernandes

Michael Attias – Twines of Colesion (CF 188 )****
Como é Lisboa vista da América? Abre com solo de contrabaixo, a que se sobrepõe uma elegia para dois saxofones, depois contrabaixo e bateria iniciam uma marcha cambaleante, aqui e ali, há cintilações de piano, a melancolia sobe do rio e infiltra-se até aos ossos. O saxofonista Michael Attias pode não conhecer os cantos a Lisboa mas provavelmente conhece a poesia de Pessoa, pois o seu tema “Lisbon” é abúlico, repassado de tristeza e dado a mergulhar em meditações metafísicas enquanto contempla “o cais negramente reflectido nas águas paradas” (Ode Marítima).

Os intervenientes são todos músicos que se conhecem de diversas formações e já fazem parte da prata da casa Clean Feed – Attias, Malaby e Hébert têm discos em seu nome na editora. Pode ver-se este quinteto como uma expansão do trio Renku, de Attias com John Hébert (contrabaixo) e Satoshi Takeishi (bateria), por incorporação de Tony Malaby (sax) e Russ Lossing (piano). Aliás, Twines of Colesion foi registado ao vivo em três dias consecutivos no Salão Brazil, de Coimbra, durante o festival Jazz Ao Centro de 2008, ou seja, no mesmo local e pela mesma altura em que o trio gravava o recomendável Renku in Coimbra (também na Clean Feed).

A delicadeza e melancolia de Renku in Coimbra (e um dos temas, “Fenix Culprit”) transitam para Twines of Colesion, mas este é mais denso e tem assomos de vitalidade mais frequentes, muito por “culpa” de Malaby, que se inflama em solos arrebatadores, nomeadamente em “(New) Loom”, “Fenix Culprit”, “Hunter” e “Le Puits Noir”. Um disco variado, intenso e fluido, com um final que soa atabalhoado: após um prelúdio para dois saxofones enlaçados, o brevíssimo “The Maze and the Loom” termina quando dava ideia de que iria alçar voo.

JazzMag review by Philippe Méziat

All About Jazz Italy review by Libero Farnè

Michaël Attias – Twines of Colesion (CF 188 )
Appena tornato dal festival di Saalfelden mi è capitato di riascoltare su Radio 3 un paio di brani da Saxophone Colossus di Sonny Rollins (1956) e poi di dover recensire per AAJ Staying on the Watch di Sonny Simmons (1966). L’imbattermi involontariamente nella rivoluzionaria vitalità di quei dischi mi ha fornito la riprova di alcune considerazioni che andavo rimuginando fra me e me mentre sui palchi di Saalfelden, vetrina imperdibile dell’attualità, si andavano susseguendo i concerti dei vari gruppi.
Vale a dire che, salvo rari casi, con le espressioni di oggi ci troviamo di fronte a tanti manierismi, magari sublimi, ma manierismi. Sull’urgenza espressiva prevale la consapevolezza, sulla centralità della cultura jazzistica l’incrocio fra culture, sulla potenza generatrice del sound e dell’improvvisazione la priorità della struttura, sull’invenzione di un linguaggio inedito la sofisticata rielaborazione d i idiomi… Tutto questo ha a che fare ovviamente con il postmodernismo e con la globalizzazione che almeno da un trentennio influiscono in modo determinante anche su qualsiasi branca del fare artistico.

Questa lunga premessa per arrivare a dire che Twines of Colesion, registrato dal vivo nel giugno 2008, è appunto un tipico esempio, non dei più convincenti, dell’attuale ricerca jazzistica più impegnata e “colta”.
Il quarantenne contraltista Michaël Attias, attivo a New York dagli anni Novanta, è al suo terzo CD per l’etichetta portoghese (dopo Credo e Renku in Coimbra). È autore di tutte le composizioni, o sarebbe meglio dire degli andamenti strutturali dei brani, che alternano passaggi obbligati e improvvisazioni, ora prudenti e diafane ora concitate; e non necessariamente queste ultime costituiscono gli sviluppi dei primi, ma anzi più spesso gli elaborati temi emergono, gradualmente o repentinamente, dalle parti improvvisate. Il quintetto procede con un interplay attento, in cui si mettono in evidenza il robusto contributo del contrabbasso di John Hebert e le voci strumentali dei sassofoni del leader e di Tony Malaby, spesso intrecciate fra loro.

La musica austera, riflessiva e coriacea che si materializza è inappuntabile, ma non riesce ad emozionare: qualche passaggio sa di compitino accademico e a volte il modo di fraseggiare risulta ormai risaputo. Se dunque consideriamo questo CD nel panorama strettamente attuale lo dobbiamo giudicare puntualmente mirato, pienamente attendibile, anche se allineato su direttrici impostate in precedenza da altri; se lo consideriamo in una prospettiva più ampia, di decenni, ha invece ben poche probabilità di rimanere nella storia.
http://italia.allaboutjazz.com/php/article.php?id=5682

Music and More review by Tim Niland

Michael Attias – Twines of Colesion (CF 188 )
Recorded live during a jazz festival in Portugal, this album develops in a slow and thoughtful manner as the musicians expand themes and improvisations in a deeply artistic manner. Attias plays alto saxophone, joined by Tony Malaby on tenor saxophone, John Hebert on bass, Russ Lossing on piano and Satoshi Takeishi on drums. “(New) Loom” opens the album with the instruments widely spaced, building slowly as the tension of the horns increases. The lengthy performance builds to a section of strong free-ish horn playing before Malaby steps out with a powerful solo statement. Hebert leads into “Lisbon” with a extensive and subtle bass solo, joined after a while by subtle smeared horns and spare piano, creating a poignant sound-scape. “Fenix Cluprit” begins with light saxophone and spare piano, developing a faster rolling pace, spurring saxophones to a flight of nimble fancy. “Hunter” finds the saxophones making inquiries over dark toned piano, slowly developing the spacious atmosphere in gentle waves of sound. “Le Puits Noir” has a light and spacious percussion foundation, with Takeishi sounding nimble and dexterous. Strong, swirling saxophone, fast tenor with the drums rising to the challenge build to a deep and powerful conclusion. Quiet and atmospheric development mark “The Very Thing” with breathy saxophone joining gentle piano, bass and drums. The music develops to a faster and more vibrant conclusion. “Vitesse De Laumiere” features percussive piano and strong twin saxophones with thick bass providing a strong foundation for a sweeping alto solo, before Attias bows out and Malaby takes the music into strong and vibrant territory. “The Maze And The Loom” ends the album on a quiet note, with gentle swirling horns that swirl and twist like a strand of musical DNA. The musicians play throughout this album in a very thoughtful and patient manner, allowing the music to develop organically. The breadth of their musical vision is inspiring, as they work to widen and expand the nature of the music.
http://jazzandblues.blogspot.com/

Free Jazz review by Stef Gissels

Michael Attias – Twines Of Colesion (CF 188 ) ****
Last year I praised alto saxophonist Michaël Attias’ “Renku In Coimbra”, a trio with John Hébert on bass and Satoshi Takeishi on drums. This album was recorded live at the same Coimbra festival in Portugal but some years later, and this time with Tony Malaby on tenor and soprano, and Russ Lossing on piano, to form a quintet.

This is modern jazz at its best, with solid themes and rhythms, with excellent improvisations, rich in overall ideas and timbral nuances and texture.The additional horn and the piano add to this overall wealth of sound, especially because of the natural sensitivity of both players, which is very much in line with Attias’s own lyricism.

Pieces like “Fenix Culprit”, which start with vibrant slowness, like heat hovering over a deserted road, yet gradually pick up speed and momentum without losing the overall sensitivity and core concept, really demonstrate the band’s power.

This power is also the result of the band’s willingness to be vulnerable and fragile. Listen to “Hunter”, on which Malaby and Lossing get the floor for a long introductory duet of extreme beauty and sensitivity before the theme sets in.

On the downside, I wonder about the editing of the performance. This live performance again sometimes has applause at the end, sometimes not, which is a disturbing experience as I’ve mentioned before. One can also wonder about the last piece, which starts with a two minute duet between the two saxes, then the band joins for fourty seconds to bring the theme once before the track stops, as if aborted.

Don’t let this spoil the fun.

PS : For those of you living in New York, the CD will launched at a concert next week, August 19, at the Cornelia Street Café.
http://freejazz-stef.blogspot.com/