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| music for body and soul |______________________|| |
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|| release infos |
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| + artist ........... Ellery Eskelin, Andrea Parkins, Jim Black |
| + album ............ Arcanum Moderne |
| + label ............ Hat Hut Records |
| + cat .............. Hatology 588 |
| + year ............. 2003 |
| + genre ............ Jazz |
| + source ........... CDDA |
| + quality .......... VBRkbps / 44,1Khz / Joint-Stereo |
| + release date ..... 02.06.2004 |
| + size ............. 96,5 MB |
| + link ............. www.hathut.com/eskelin-content.html |
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|| tracklist |
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| 01.It's A Samba 13:36 |
| 02.43 Rpm 06:20 |
| 03.Five Walls 12:43 |
| 04.For No Good Reason 09:46 |
| 05.Half A Chance 10:51 |
| 06.Arcanum Moderne 14:18 |
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| (t!) total 67:34 min |
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|| release notes |
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| Arcanum Modern |
| Ellery Eskelin, Andrea Parkins & Jim Black | Hat Hut Records |
| |
| Ellery Eskelin - Sax (Tenor), Producer, Liner Notes |
| Jim Black - Percussion, Drums |
| Andrea Parkins - Piano, Accordion, Sampling |
| |
| This release furthers the saga of one the more interesting units |
| in modern jazz. Pushing nine years and countless tours, the trio's |
| mark of identity is firmly rooted within improvisation. However, |
| tenor saxophonist Ellery Eskelin's relatively complex compositions |
| provide a forum for individual ingenuity, witnessed countless |
| times during the band's lengthy tenure. On this effort, recorded |
| in a New York City studio, the threesome explores grooves such as |
| samba, on the aptly titled "It's A Samba," where the band |
| reformulates tradition into a distinctive group sound. Eskelin's |
| robust mode of attack serves as a vortex of sorts for Andrea |
| Parkins' accordion/piano/sampler activities, and drummer Jim |
| Black's personalized rhythmic exercises. Hence, the listener |
| should come to expect the unexpected. It's partly about Eskelin's |
| blustery lines intermixed with Parkins' swirling accordion |
| maneuvers and Black's odd-metered backbeats. At times, the trio |
| moves forward with the semblances of a rumbling freight train, via |
| driving pulses and moments of compositional deconstruction. |
| Nevertheless, the musicians seem equally comfortable when either |
| engaging in a bit of controlled mayhem or executing trance-like |
| choruses and soul-searching lyricism. This is yet another superb |
| effort by one of the best groups in the business. |
| -----------------------------------> Glenn Astarita @ allmusic.com |
| |
| |
| It's hard to look at Arcanum Moderne without reference to the |
| massive heap of recordings this particular trio has piled up over |
| the years, which is both a good and bad thing, of course. There's |
| something about the odd chemistry among Ellery Eskelin, Andrea |
| Parkins, and Jim Black which has fueled endless live performance |
| and ceaseless recorded unrest. |
| All three players subscribe to the school of purposeful |
| unpredictability, sometimes setting up stark clashes that grab |
| attention and other times falling neatly into uncanny grooves from |
| out of nowhere. But make no mistake: these events, as with most of |
| the rest of what you hear from this group, are not at all random. |
| And when the trio stretches out in between, it's open ground. |
| |
| Arcanum Moderne juxtaposes tenor saxophonist Ellery Eskelin's |
| obsession with timbral color alongside a fabric of improvisation |
| that moves from unison/harmonized melodies toward free playing and |
| back. Check out his breathing, fluttering, floating introduction |
| to "Half A Chance," rich with thick overtones and polychromatic |
| hues. Andrea Parkins enters on sampler then piano and accordion, |
| and Jim Black rides the rhythmic tension between stasis and a |
| halting rush. The denouement comes in the form of a stately organ |
| procession toward the end of the piece. |
| |
| The first track, "It's A Samba" (yes, in its own oblique way) |
| takes advantage of Black's crisp and unpredictable drumming, |
| stretching out over 13 minutes to allow each player to go beyond |
| the appetizers through a full course meal. (Each one of these |
| tunes is expansive, most ten minutes or longer.) |
| |
| But it's moments like the transition two minutes into "For No Good |
| Reason," where a no-holds-barred improv briefly coalesces into a |
| groove, that you really understand what Eskelin is up to here. |
| It's the contrast between breath and punch, intimacy and distance, |
| past history and modern future, channel and ocean that fuels this |
| excursion into outer sound. Make no mistake, though: Ellery |
| Eskelin is no screamer. As his liner notes point out quite |
| open-mindedly, "there's a lot of ways to improvise and my way is |
| no better than anybody else's." This music is quite active about |
| its expansion and message. |
| |
| Eskelin's route is most assuredly unlike the rest, which makes it |
| a rare opportunity to glimpse into the spirit of three players who |
| have spent the time and made the effort to join forces for a |
| purpose. Listeners who have followed this group's ongoing course |
| will find that Arcanum Moderne ranks up there with the best of a |
| superlative series of recordings. |
| --------------------------------> Nils Jacobson @ allaboutjazz.com |
| |
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|| group notes |
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| mbs is a new and free music lover association on the net. |
| we only share the music we love, with the people we like. |
| keep your mind, your body and your soul open. peace. |
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