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▐▌ Jim Black - Habyor ▐▌
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▀▓█▄ ARTiST...: Jim Black ▄▓█▀
▀█▄▄ ALBUM....: Habyor ▄▄█▀
▄▀ ▄ LABEL....: Winter and Winter # 910 073-2 ▄ ▀▄
▀▓██▄ GENRE....: Jazz ▄▓██▀
▐███▌ MEDiA....: CDDA ▐███▌
▄▓███▀ RELEASED.: Jun-12-2004 ▀▓███▄
▄████▀ SiZE.....: 76,5 MB ▀████▄
▄▓██▓▀ LENGTH...: 51:51 min ▀████▄
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██▌ ▐██
██▌ Tracks: ▐██
██▌ ▐██
██▌ 01 Talk About 04:05 ▐██
██▌ 02 Z 04:26 ▐██
██▌ 03 Rade 06:46 ▐██
██▌ 04 Cha 05:28 ▐██
██▌ 05 Part Wolf 05:56 ▐██
██▌ 06 Hello Kombiant 03:29 ▐██
██▌ 07 Let it Down 06:08 ▐██
██▌ 08 Be Real 04:32 ▐██
██▌ 09 Endgatherers 06:39 ▐██
██▌ 10 Stay Go 04:22 ▐██
██▌ ▐██
██▌ --------- ▐██
██▌ 51:51 min ▐██
██▌ ▐██
██▌ Notes: ▐██
██▌ ▐██
██▌ The first CD, ╗AlasNoAxis½, that was detox. Jim Black still had a ▐██
██▌ whole load of ideas buzzing around in his head, wanting to get ▐██
██▌ out, but up to now, in all the various groups that the ▐██
██▌ percussionist had stamped with his rhythmic elasticity, there had ▐██
██▌ never been a chance to realise them. Four years earlier, Black ▐██
██▌ had founded his band ╗AlasNoAxis½. That is, he asked Chris Speed, ▐██
██▌ the sax and clarinet player he had worked with in various ▐██
██▌ projects and bands ever since they were both young guys in ▐██
██▌ Seattle. Then he asked bass player Sk·li Sverrisson, who like him ▐██
██▌ had played In SpeedÆs band Yeah No and the joint project Pachora, ▐██
██▌ as well as the Icelandic guitarist Hilmar Jensson, who also went ▐██
██▌ a long way back with him. So a familiar environment, where anyone ▐██
██▌ can take the lead role in a new project. What was new here was ▐██
██▌ just the music, in which the band surveyed the broad territory it ▐██
██▌ had covered in the course of its musical evolution. ▐██
██▌ With their menacing power chords, bleak noise-scapes and edgily ▐██
██▌ structured grooves, with SpeedÆs mobile improvisation lines, ▐██
██▌ JenssonÆs sound experiments, SverrissonÆs insistent grooves and ▐██
██▌ Jim BlackÆs energy, they spanned the arch from Seattle grunge ▐██
██▌ rock to the down-town avantgarde improvisers in New York, which ▐██
██▌ was now the centre of their lives. ▐██
██▌ ╗Habyor½, the new, third CD by Jim BlackÆs ╗AlasNoAxis½ now marks ▐██
██▌ a real change. It is dominated by the song format. Jim Black, now ▐██
██▌ 36 years old, is sitting at home, surrounded by guitars; over and ▐██
██▌ over, he picks one up, puts it down again, takes another, ▐██
██▌ differently tuned, ponders, hums a melody line, and smiles ▐██
██▌ contentedly. Jim Black as songwriter: it could have been ▐██
██▌ something like that. Now he has composed a collection of songs, ▐██
██▌ piece by piece, bit by bit, groove by groove, sound-block by ▐██
██▌ sound-block, melody, harmony, rhythms, static rhythms and other ▐██
██▌ things, all constantly evolving. Songs with clearly defined ▐██
██▌ borders and transitions, with strict rocking backbeats, and ▐██
██▌ clearly delimited space for improvisation. And with Chris SpeedÆs ▐██
██▌ saxophone as the melody line, since an actual voice part was far ▐██
██▌ from what Black had in mind. HeÆs not particularly interested in ▐██
██▌ the fixing of musical moods that rapidly arises from song lyrics, ▐██
██▌ and the focused attention that a singer inevitably attracts ▐██
██▌ doesnÆt match what he wants to do with this band. On the ▐██
██▌ contrary: however important the refined, fragile sound of his ▐██
██▌ colleague Speed may be to him in conveying these slightly ▐██
██▌ drawn-out, indolent melodies, for Black itÆs the group that is at ▐██
██▌ the core of this music: this group of familiar musicians, whose ▐██
██▌ experiences, tastes and talk he shares. With these musicians, who ▐██
██▌ are about his age, who, like him, have grown up with various ▐██
██▌ musical passions, with rock and pop, jazz and classics, ethnic ▐██
██▌ musics of various origins, and like him have decided not to block ▐██
██▌ out any of these diverse areas, but to work with the greatest ▐██
██▌ possible diversity themselves, he can collaborate closely in ▐██
██▌ developing this music on the basis of his own absolutely ▐██
██▌ individual ideas. And of course, the songs on ╗Habyor½ are not ▐██
██▌ that simple: in these songs, Black often declines to go back to ▐██
██▌ the beginning, sets block after block in place, and keeps heading ▐██
██▌ for a new horizon. And so the worlds of sound never get a chance ▐██
██▌ to settle into one category. ╗Habyor½ is not rock, not jazz, not ▐██
██▌ impro, not avant-garde. ▐██
██▌ There are no certainties here û at every turn, a new flirtation ▐██
██▌ with disaster could be beginning, breaking out into the realm of ▐██
██▌ noise, into big-city chaos, into organised beat. For however much ▐██
██▌ Black may acknowledge the fragile beauty of melody, tension and ▐██
██▌ energy are basically what he is all about. ▐██
██▌ ▐██
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