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a r t i s t : Rova::Orkestrova
t i t l e : Electric Ascension
d a t e : 2005
l a b e l : Atavistic
g e n r e : Avantgarde
r l s. d a t e : Nov/2005
t r a c k s : 13
b i t r a t e : VBRkbps
s i z e : 98,8 MB
_______________________________________________________________________
Massive & intense in-studio interpretation of John Coltrane's
masterwork, Ascension- as performed by an all-star ensemble
featuring The Rova Saxophone Quartet, Nels Cline (Wilco &
more), guitar legend Fred Frith, Ikue Mori (formerly of No New
York stars DNA), turntable wizard Otomo Yoshihide, plus other
stellar guests.
ôColtraneÆs Ascension belongs right up there in the pantheon of
multi-recorded masterworks. Since this is only the second
recording by someone other than Coltrane, thereÆs plenty of
room for it and more. We decided to record it because we could,
and because we had a very heavy line-up of "free-jazz" players
who we thought could handle the large ensemble improvisations.
But somewhere in the middle of the performance, as I was
standing onstage in a state of reverie listening, I looked up
at the sky and thanked my lucky stars for the experience that I
was then taking part in. I realized that this composition- so
unassuming on paper, was in fact a master form.
I like to think that, if Coltrane were still alive and still as
adventurous, would have organized a similar band to play this
piece in 2003- and I definitely believe that what we have here
on record could never have been made 40 years ago. Both
technologically and conceptually, this performance couldnÆt
have happened. Why I say that may be obvious to some, but for
those of you who think IÆm dissing Coltrane, Sanders, et al.,
let me explain: 1965 was very much in the early stages of what
is usually called "free jazz", but what I think of as
"structured improvisation" (a more all-encompassing term). At
that time, asking seven wind players, two basses, a drummer,
and a pianist to come together and blow collectively, with no
rehearsal, was more than ground-breaking. Almost none of these
artists had had that experience before. And MUCH more
importantly, as far as I know, neither had almost anyone else.
And certainly there were virtually no recordings to study.
Simply put: the entire concept of free improvisation was barely
an idea in anyoneÆs mind.
Forty years later, the concept is not only a known quantity,
but itÆs been absorbed, analyzed, worked on, thought about,
discussed, "improved." So it only follows that weÆd be able to
take ColtraneÆs beautiful piece and intuit implications for it
that the original sound-explorers could not have realized at
that time- the first time... the respect everyone has for the
composer, for the other musicians involved, and for the form
called "structured improvisation" makes the music what it is.
We are indebted to John Coltrane (and other great artists) for
inspiring us to engage uncompromisingly in the risky business
of creativity.ö
(www.atavistic.com)
_______________________________________________________________________
01-Electric Ascension-Track01 [06:22]
02-Electric Ascension-Track02 [03:52]
03-Electric Ascension-Track03 [04:07]
04-Electric Ascension-Track04 [08:32]
05-Electric Ascension-Track05 [04:12]
06-Electric Ascension-Track06 [01:59]
07-Electric Ascension-Track07 [04:06]
08-Electric Ascension-Track08 [02:06]
09-Electric Ascension-Track09 [07:22]
10-Electric Ascension-Track10 [07:07]
11-Electric Ascension-Track11 [05:49]
12-Electric Ascension-Track12 [08:16]
13-Electric Ascension-Track13 [00:19]
-------
64:09 min