░█
████ ░░▓██░▓██░▓█ ███
█ ▓███ ███████████████████ ██░█ █████
██ ▓██ ░▓▓█████░███▓███░░░████ ██░ █ ██ ████
█▓ ▓███ ▓██████████▓████░ ░░███ ██▓ ██ █████░ ████
██░ ▓███░▓█▓██░▓████░ ░░░░░░░███▓ ██ █░ █░░ ███
█▓██░ ▓██████░███░ ░░░███████░█▓░░█ ███ ███ █░ █░ ██
██░██░ ▓▓██░███░ ░░█████░███████░██ █░█░ █░█▓ █░░ █░░ ██
██ ██░░███████░ ░░██████░█▒█▒████▓█ ██░█▒ █ ██░ █░░░░████░ ██
█▓ ██▓█ ░██░ ░░████▓░░▓███░█▓▀████ █░ █▓ █ ░█▓ ██████▓█ █░
██░▓██ ░█░░████▓░ ░██░ █░ ██ ██░ █▓ █ ██░██░ ██░ ███░ ██░
▓█▓█ ░░░ ░████▓░ ▓█░ █ █░ █▓ █ ░█▓█░ █░ ██▓██░ ██▓▒
░██ ░▄███ ██▓▓░ ████░ ░███▓███ ██░ █▓░█ ███░ █░░██▓▓░█░░░██▓▒
██ █▓ █ █▓░ ░█ ░▓███░██░ ░▓██ ██░ ████ ░██░ █░██▓▓ ▀████▓▓
▓██ █░ █░ █░ █ ░▓██ ▓██ █░ █░░ ███▓▓ ▓▓▓▓▓
░▓███░ █▓ █░ █░█░░ ░ ░▓█ ██░ ████ ██░ ██▓▓
░▓█████░ ██▓░░▄ ░█ ██▓░ ░█░ ░████ █░ █▓▓█ ░█░░ ██▓▓
███████▓ ███░ ░██ ▓███▒░░ ░▒████████ ██░ █▓░█ ██░░██▓▓
████████▓░░ ░██ ░░▓███████████▓████▓██ █░ █▓ █ ░████▓▓
███▓ ░▓████░░░ ███░ ░█████████████░ ▓██░ ▓█ █░░ █▓ █ █▓█▓▓
▓░ ▄████░██████▓░ ░████████▓ ░▓█░ ▓███░█ █████████▓ ██████████▓▓
░ █▀ ▓█░░ ████░ ░▓▓▒▒░░ ░▓████░ ░█░██▀ ░▒▓▓▓▓▓▓▓ ▓█▒░░░▒█▓▓
█ ▓██████▓ ██ ▓▒██░ █▓ █████ ░█████▓▓
░ ▀██▄ ▓█▓█▓░ █▀▀█░ █▓ █▓ ▓██ █ "HiGH ░▒▓▓▓▓ iNTELLiGeNCE tRoLLS"
▀█ ██░ ▓▒▒░▒▒▓ ██░ ██ █▓░ █▓░ ░▓█░ ██ ▄▄▄▄▄ ▄▄▄
▄███▀ █▓▒ ░░██░ █░░ █░██▓░░ ░▓██░ █▄ █▀░ ▀██ ▀█ ▄██▄
░ █▀ █▓▒ ░███░ ░░▓█░ ██░█████████░ █▓█ █░ █▓ █▄█ ░█░
█ ░░ █▓ ░▒█░ ▒▒ █░░ ████████████░░██░▓█ █▓▒░██ █░ █▀ ░██▓
█ ░ █▓▒ ░▒░ ▒ ██░░░ ██░ ▀████ ░▓ ▀████░ █ ███▓
▀█▄ ██▓ ▓░ ▒▓ ██████░ ░░░░░░ ░▒█ ▄█░ ███ ███▓▓
▀█ ██▓ ░ ░█ ░▓██▓▓▓▓██ ░░░▒██ ▄█ █████░ ░██▄
▄█ ██▒░ ░██░░ ░▒▓███▓░░ ░▓███████ ▄█░ ██▀ ▀█░ █▄ ░█▄
░░▒▓▓▀ ██▒░ ░█████████▓░ ░▒▓█ █░ ▀ ▄█░ ███ ░█▄
░[PR] ████▒░ ▓░░░░░░░ ░▒█ ▀█▓░ ▄███▓░▄█▓ █ ░█░
████▓▓▒▒░ ░▒▒▓██░ ▀█████▓▓▀███▓▓ ███▓
██████████████████████▓ ░▓▓▓▓ ░▓▓ ░▓▓▓
a r t i s t : Blue Collar
t i t l e : _______ Is an Apparition-.Rossbin.
d a t e : 2004
l a b e l : Rossbin (RS016)
g e n r e : Meditative
r l s. d a t e : June/2005
t r a c k s : 08
b i t r a t e : VBRkbps
s i z e : 73,3 MB
_______________________________________________________________________
Blue Collar
Nate Wooley: trumpet, flugelhorn, voice
Steve Swell: trombone, voice
Tatsuya Nakatani: percussion
All compositions by Nathan Wooley
Recorded and mixed by Zeke Zima and Blue Collar in Brooklyn,
New York, September 12 and 13, 2003
Mastered and mixed by Tatsuya Nakatani at H & H Productions,
Bronx, New York
"_________ is an apparition." marks the first release for the
New York based BLUE COLLAR featuring Nate Wooley on trumpet,
Steve Swell on trombone, and Tatsuya Nakatani on percussion.
The group, informed equally by the free jazz tradition of the
60s in America and Europe and the lowercase/reductionist
innovations now revolutionizing improvised music, has found a
way to deal with silence, sound, tension, and release in a
natural and personal way. The three players are known for
their undefinable voices in the American improvised scene,
having worked with such disparate figures as Tim Berne,
Anthony Braxton, Cecil Taylor, Bhob Rainey, Jack Wright,
William Parker, Chris Speed, and Alessandro Bosetti. However,
they work in a cohesive unit, creating improvisations that
simultaneously create and destroy spatial and temporal
considerations for the listener.
--------------------------------------------------------------
REVIEWS
"Blue Collar's oddly titled debut recording is a demonstration
of how to avoid the ordinary. The musicians, all virtuosos,
eschew every convention of music here, opting for displays of
'extended technique' or inspired noisemaking. Not until track
five do the excellent brass players deign to play actual
notes. They do grunt, huff, puff, squeal and produce just
about every other possible sound. Tatsuya Nakatani complies
and complements, pulling from a voluminous bag of percussive
textural effects.
_ is an Apparition is at times unsettling listeningùthere
isn't a pretty, soothing or foot-tapping nanosecond, but Nate
Wooley (trumpet), Steve Swell (trombone), and Nakatani (drums)
have produced a work that seeks the outer limit of acoustic
music possibilities and seems to have found it. The remarkable
thing is, aside from the fact that they had the courage to go
this far, they seem to feel comfortable out here, miles from
the mainstream. It's somehow bracing to hear pure daring in
sound.s
I've been a solid admirer of Swell's for some time and am
growing more impressed by Wooley with each performance
absorbed. Nakatani is a unique, searching percussionist. Catch
these players in one of their many live appearances, together
or separately, to hear creative music at its highest
level."--Ty Cumbie
http://www.allaboutjazz.com/php/article.php?id=16432
"Oregon-born, New York-based Wooley's experience encompasses
work with saxophonist Assif Tsahar's big bands and combo work
with Denver's Fred Hess and easterners Andrew D'Angelo and
Wright, who is featured on FROM BETWEEN. On this CD though,
Wooley utilizes the trumpet not as a brass instrument, but as
a sound source, moving into the area explored by Boston's Greg
Kelley and Berlin's Axel D÷rner.
More surprising is the presence of Swell, one of the most
accomplished New York 'bone man, usually found applying modern
gutbuck smears in the Free Jazz bands of bassist William
Parker and saxist Sabir Mateen, among many others. Here he
proves that the intricacies of circular breathing and
split-second flutter tonguing are part and parcel of his
repertoire.
On the almost 13-minute "[92]", the longest and most abstract
track, the percussionist's work seems more upfront since it's
a good five minutes before the first brass smears appear.
Before that the two hornmen have confined themselves to
bubbling bell motions plus the clatter and scrape of valves
being loosened. Eventually Swell turns to foreshortened slide
positions, while Wooley flutter-tongues and squeezes tones
until both combine for a single line, decorating it with
vocalized back of the throat grainy mumbles and mouthpiece
thumps.
Nakatani's gentle pings give way to elongated drumstick
scratches on cymbal tops in "[22]" and a constant cowbell
smack that sounds as if he's playing the intro to "Mississippi
Queen" at one-tenth its speed on "[40]". The former sounds as
if it's produced by one electronically tinged instrument,
where echoing -- and watery -- buzzing from the cymbal's
resound are followed by the oscillating pressure of carefully
emphasized brass timbres. The latter finds the brass tones
divided among the patting of bass drum and cymbals, with the
trombonist turning chromatic plunger tones into a tugboat honk
and the trumpeter producing a mosquito-like drone.
Percussion outlay includes gong reverberation, spinning
ratchets, drum thunder and times when Nakatani seems to be
creating extra colors by either rubbing a washboard or
loosening the screws and connections on his kit. Similarly the
brass inventory features the men blowing nothing but colored
air through the bell, wordless growls and hollers, middle of
the horn blats and snarls, mouthpiece kisses, sluicing plunger
tones and pedal point blows.
Every technique appears to be on show on "[49]", as
prestissimo snarls and circular breathed whispers from the
trumpet meet basso watery blasts from the trombonist. As
emphasized triplets and half-valve effects appear from both,
the percussionist rattles flams and bounces, strokes his sets
of bells and produces ruffs from his snare. When Swell uses
his plunger to exact bass notes and Wooley trills rubato on
top, Nakatani strikes his cymbal with wire brush and
repeatedly resonates a large gong..."--Ken Waxman
http://www.jazzweekly.com/reviews/doneda_from.htm
_______________________________________________________________________
01-[92] [12:43]
02-[19] [02:43]
03-[40] [06:55]
04-[22] [05:15]
05-[31] [03:59]
06-[63] [09:00]
07-[49] [06:08]
08-[48] [06:29]
-------
53:12 min