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Artist......: Anna Webber
Album.......: Idiom
Label.......: Pi Recordings
Genre.......: Jazz
Catnr.......: PI89
Source......: CD
Rip.date....: 2021-06-01
Str.date....: 2021-05-28
Quality.....: 667 kbps avg / 44.1kHz / 2 channels
Url.........: http://annakristinwebber.com
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Disc 1 / 2
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1. Idiom I 11:17
2. Idiom IV 7:47
3. Forgotten Best 8:39
4. Idiom V 4:48
5. Idiom III 10:01
Disc 2 / 2
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1. Idiom VI - Movement I 8:41
2. Idiom VI - Interlude 1 3:34
3. Idiom VI - Movement II 9:10
4. Idiom VI - Interlude 2 & Movement III 12:19
5. Idiom Vi - Movement IV 7:06
6. Idiom VI - Interlude 3 & Movement V 11:27
7. Idiom VI - Interlude 4 & Movement VI 9:33
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\ / ________ Runtime 104:22
,\ /... . . .... .... \ / ' Size 533.48______
:\/ ', \ / , \ /
' '... ..\ /.. .. .....:. .. .... .. . ..\ /.
: Release Notes: \/ , \/ ,
' '
,: Idiom from saxophonist, flutist and composer Anna Webber is the :,
: follow-up to her critically-acclaimed release Clockwise, which :
:' the Wall Street Journal called ôvisionary and captivating.ö It ':
,: was voted #6 Best Album of 2019 in the NPR Jazz Critics Poll, :,
: who described it as ôheady music [that] appeal to the rest of :
:' the body.ö Her 2020 release, Both Are True (Greenleaf Music), ':
,: co-led with saxophonist/composer Angela Morris, was named a top :,
: ten best release of 2020 by The New York Times. She was recently :
:' named a 2021 Berlin Prize Fellow and was voted the top ôRising ':
,: Starö flutist in the 2020 Downbeat CriticÆs Poll. :,
: :
:' Idiom is a series of six rigorously composed pieces, each of ':
,: which is based on a specific woodwind extended technique û a :,
: broad term meaning any non-traditional way of producing sound on :
:' an instrument, including the use of multiphonics, alternate ':
,: fingerings, buzzes, air sounds, key clicks, overblown notes, and :,
: the like û that Webber has taken from her own improvisational :
:' language. The works are the upshot of her belief that jazz ':
,: composers/performers are in a privileged position to create the :,
: perfect vehicles for themselves as improvisers. As a frequent :
:' user of extended techniques in her own playing, Webber set out ':
,: to create a continuum between her compositional and :,
: improvisatory vocabulary, orchestrating these effects across the :
:' ensemble, and applying them to different instruments. ':
,: :,
: ôIdiom IIö from this book of compositions appeared on Clockwise, :
:' while the new project û spread out over two volumes û comprises ':
,: the remaining five ôIdiomö pieces. The first four of these :,
: features her Simple Trio, with drummer John Hollenbeck and :
:' pianist Matt Mitchell, which has been her primary working group ':
,: for the past eight years. For these pieces, she uses the piano :,
: and drums to highlight aspects of her flute and saxophone :
:' techniques while taking advantage of their complete physical ':
,: and dynamic ranges. Webber based ôIdiom Iö on ôventedö :,
: fingerings on the flute (i.e., where an extra key is held down :
:' or left up, causing the instrument to malfunction in a ':
,: microtonal way), key noise, and overblown notes. For ôIdiom IIIö :,
: and ôIdiom IV,ö she utilizes various saxophone multiphonics that :
:' create an interval that is very close to, but not quite, an ':
,: octave. This causes the instrument to sound as if it is :,
: pulsating at a regular pattern, similar to the ôbeatingö that :
:' one hears when two pitches are very close to being in tune. ':
,: ôIdiom V,ö uses a broad range of flute extended techniques that :,
: were then spectrally analyzed in order to generate :
:' sounds/pitches for the piano and drums. ':
,: :,
: The hour-long ôIdiom VIö is performed û over six movements and :
:' four interludes ù by a twelve-piece ensemble that brings ':
,: together a mix of musicians equally split between improvisors :,
: and new music specialists. The specific extended technique used :
:' as the foundation for this work is a series of dyad ':
,: multiphonics found on the tenor saxophone that form small :,
: intervals, which manifest both literally and abstractly :
:' throughout the piece: In addition to using them in her ':
,: orchestration and improvisation, they are also used to generate :,
: chords and scales and, overall, gave license to utilize other :
:' naturally occurring sounds and extended techniques, opening up ':
,: novel and mysterious sonic combinations. The resulting :,
: masterwork abounds in other-worldly tone colors and timbres :
:' enveloped by rhythmic and harmonic tension. But, because Webber ':
,: is still, at base, influenced by jazz, there is plenty of room :,
: left for dazzling and inventive improvisation by the full :
:' coterie of musicians. ':
,: :,
: According to pianist Mitchell: ôDespite being colleagues with :
:' Anna for the better part of a decade, IÆm still struck by her ':
,: foray into new creative territories. IÆve been immersed for :,
: quite a while in the trio music on the first disc, but IÆm still :
:' struck by the coherence, wit, and focused energy of the music. ':
,: These traits are expanded exponentially on the polychrome :,
: labyrinth of the music for 12-piece ensemble on disc two. IÆd :
:' wager that even the most enthusiastic of AnnaÆs ever-growing ':
,: pool of listeners will find the music to be an embarrassment of :,
: riches in which to indefinitely lose and find themselves. Modern :
:' creative musicians are often û and ought to be û genres unto ':
,: themselves, and perceived uncanniness leading to inevitability :,
: is both a hallmark of Idiom and the genre of Anna Webber.ö With :
:' this new work, Webber has created a singular sonic world, a ':
,: bold magnum opus that paves a new path for the amalgamation of :,
: cutting-edge composition and improvisation. :
:' ':
: '
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