Posts Tagged ‘Improvisation’

Christopher Nosnibor

The facts:

Jeph Jerman: snare drum, frame drum, cymbal, pumice, e-bow with metal, wok lid, old brass bowl and ball bearing, disintegrating paint brush ​
Giacomo Salis: percussion, objects, field recordings ​

Paolo Sanna: percussion, waterphone, prepared zither, thingamagoop2, s.w.radio ​

So, not just any paintbrush: Jeph Jerman’s instrument of choice is a disintegrating paintbrush. The list of instrumentation deployed in the production of Kio Ge is nothing if not improvisational, and this is in keeping with the spirit of the album’s twelve improvised fragments.

There’s nothing fully realised in an explicit sense here, but that’s not what Kio Ge is about. These pieces – they’re not strictly compositions in that they’re not pre-ordained, but by the same token, composition can take place in real-time, spontaneously – but it may be more appropriate to refer to them as musical happenings or sonic events.

While many of the tracks sit in the three to four-minute bracket, a number are barely a couple of minutes in duration, but what they offer in a holistic sense is a series of sketches which clatter and clank, bubble and scrape, transitioning through simple, sparse arrangements to dense, multitextural works.

These aren’t pieces which resonate on any particular level, and they don’t move the mind, the soul or the body with their abstract firms and absence of rhythm. But that does not mean that Kio Ge lacks engagement: in fact, Kio Ge engages at precisely the points the attention begins to wander.

AAA

Jerman Salis  Sanna – Kio Ge

Advertisements

Hispid Records / PNL Records

Christopher Nosnibor

Another one lifted from the epic and eternal backlog, Pan-Scan Ensemble’s Air and Light and Time and Space is a document of the first live improvisation by this Scandinavian collective centred around the ever-active free jazz drumming luminary Paal Nilssen-Love. Perhaps as one would predict, the nine players, with two drummers, three trumpets, a piano, a whole slew of saxophones and a flute, contrive to create quite a dizzying racket.

There are just two pieces on the album: ‘Air and Light’ and ‘Time and Space’. The former is a punchy twelve minutes in duration, and after a calm beginning, with just sporadic clatters of soft percussion to punctuate the aural vista, all free jazz hell breaks loose around five minutes in. Discordant piano and wild brass fly in all directions simultaneously, different keys and time signatures clash. It’s not music that will help soothe a headache, that’s for certain.

On ‘Time and Space’, things begin in a calmer place, and the incidental rolls and rumbles are slow but jarring. It all seems quite restrained. However, by the six-minute mark, it’s a frenzied mayhem of horns and arrhythmic drums crashing and…. It’s a dizzying cacophony, and after a while, when they finally bring things back down a couple of notches, it’s quite a relief.

The second extended crescendo is slower, more deliberate, weightier, but no less dramatic. Finally, some twenty-five minutes in, something recognisable as a tune emerges. Dolorous piano rolls over a steady, insistent beat. The horns still run wild all over the place, but they’re held in check by the solid rhythm. It builds and builds to an immense climax.

I know that this type of free jazz improv is supposed to be ‘difficult’, and some works are more difficult than others. In the main – and this is purely my personal taste rather than a comment on its musical or artistic merit – I find it all too much. Air and Light and Time and Space is a bewildering tumult of chaos, busy, uncoordinated and in some respects wilfully unmusical. None of those things are bad in themselves, but I struggle to grasp the purpose beyond self-entertainment for the musicians in the room. Apart from the last seven minutes or so, when a certain sense of structure coalesces from out of the chaos, it’s not fun. Nevertheless, the passion of the players is unmistakable, and the way they do bounce off one another to evolve the ebbs and flows and monstrous crescendos is impressive.

Pan Scan Ensemble

Play Loud! Productions – PL063LP

Christopher Nosnibor

Mark E Smith is not Damo Suzuki. Only Damo Suzuki is Damo Suzuki. Damo Suzuki requires no introduction, of course. However, his vast and almost immeasurably influential output seems to exist almost in the ether, his own name and that of CAN being names to conjure with, but perhaps carrying more connotations than actual connection.

Suzuki’ status as an innovator and a one-off requires no comment, either. The fact he’s been going for multiple eternities, and continues to perform sets that are completely off the wall means his reputation remains unharmed, and this release – one more addition to already impressive body of work which essentially stands to define Krautrock – won’t dent that.

As the title suggests, this set was recorded live at Marie-Antoinette, Berlin, Germany, on 24th November 2011. Damo Suzuki was joined on stage by a stellar lineup, consisting of Dirk Dresselhaus (Schneider TM, Angel) on electric baritone guitar and effects; Ilpo Väisänen (Pan Sonic, Angel) on electronics and effects; Michael Beckett (kptmichigan, Super Reverb) on electric guitar and effects; Claas Großzeit (Saal-C) on drums and percussion, and Tomoko Nakasato (Mio, JINN) on dance and electric rake. No, I have no idea what an electric rake is, but on vinyl, each of the album’s half-hour tracks occupies a side of the two-disc set.

Ordinarily, live releases take the best cuts, or the single best night of a tour. Dirk Dresselhaus’ comments which accompany the release suggest that this recording doesn’t necessarily follow that rule, and instead presents an honest account of a singular event: “I find it fairly difficult to say something about how the music in this concert came about, cause we didn’t plan or rehearse anything and hardly were able to hear each other on stage. Wherever it came from, the energy and course of this concert is very much based on group dynamics and an almost telepathic sort of communication, like a swarm of fish. When I mixed the sound later on in the studio I discovered a lot of weird things on the separate tracks: for example Kptmichigan’s guitar signal is changing level for about +/-30 dB once in a while which is a lot and was probably caused by a broken microphone cable. Luckily the fucked up parts made the sound even heavier and more distorted instead of destroying it,” he says.

At times the lack of planning and rehearsal is apparent, but in the main, Live at Marie-Antoinette captures a collective who are capable of a rare musical intuitiveness. And whatever it may have sounded like on stage, and regardless of the occasional stab of feedback and errant extraneous intrusion, the recording captures a tense, atmospheric musical soundscape which transitions across the various parts with a creeping stealth.

To draw attention to any one passage would be to entirely misrepresent the overall arc of the performance. From the tribal chants to the undulating synth-like tones to the slow-building crescendos and the sustained sonic blitzkriegs which absolutely tear through the curtains of sonic decency, each and every aspect of the set is integral to the overall experience, which is built around a series of ebbs and flows, often rising from next to nothing to a whorling tempest quite unexpectedly. And it’s true that the colossal peaks are accentuated by the shuddering volume and crackling distortion they produce. Sometimes, fucked up is good.

This is all part and parcel of the live medium: while the studio affords total control over every aspect of every element of the sound, when playing live, anything can happen. The real test of a band’s capabilities is how they deal with the unexpected eventualities and how they deliver the show to a crowd under adverse circumstances. There is no audience sound on Live at Marie-Antoinette, which means it’s impossible to gauge the audience reaction to the show. But the sound balance suggests the audience were subjected to a punishingly loud and challenging set. It’s probably one of those rare live albums where the recording is more pleasurable than the actual event.

http://playloud.org/archiveandstore/trailers/damosuzuki/trailercode.html

 

damo-suzuki-sound-carriers-live-at-marie-antoinette