Artist : Conjoint
Title : A Few Empty Chairs
Genre : Jazz
Year : 2006
Date : Oct-27-2006
Bitrate : VBR kbps
Tracks : 13
Label : Buero
Source : CDDA
Length : 69:01 min
Size : 97,5 MB
Tracklist:
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01.blue & white 08:46
02.seven quarters 06:51
03.teste 04:57
04.a few empty chairs 04:48
05.conjoint with clarity 03:26
06.klangwolke #1 01:25
07.ice tango 08:34
08.detajam 05:28
09.kranky 05:34
10.frentic 03:30
11.loopholes in my lawn 04:32
12.ruit silvermoon 08:57
13.reversed-reserved 02:13
-------
69:01 min
CCO is proud to welcome Conjoint to the roster, the joint
effort of David Moufang, Karl Berger, Jamie Hodge and Gunther
Ruit. Having been making music since the late Fifties, Karl
Berger is undoubtedly the veteran of the Conjoint gang û
bringing his consummate vibraphone skills which were honed
through years working alongside the likes of Don Cherry,
Ornette Coleman, Lee Konitz, Bill Laswell and George Clinton. A
key figure in the avant-garde jazz scene, Bergers fluid musical
style is perfectly counter-pointed by the electronic
machinations of Jamie Hodge a Chicago born digital manipulator
whose first release back in 1994 on Richie Hawtins plus8 label
became an instant classic (Born Under A Rhyming Planet) and has
since put out material for countless labels. Backing these two
up is guitarist Gunther Ruit Kraus, a well-respected jazz
musician from Heidelberg, Germany, and David Moufang otherwise
known as Move Dû whose Source recordings was the initial
catalyst behind the Conjoint project. A full-on techno
luminary, Move Ds work for Source, Warp and Fax have become key
documents in the history of electronic music, whilst his
collaborative credentials have also been established through
projects such as "Reagenz" (with Jonah Sharp aka Spacetime
Continuum), Deep Space Network" (with Jonas Grossmann) and
Studio Pankow alongside Jamie Hodge and Kai Kroker. Their
third album as Conjoint, æA Few Empty Chairs follows on from
debut Berger / Hodge / Moufang / Ruit and 2000s Earprints (both
released through Source), wherein comparisons to the likes of
Miles Davis were common û but only told part of the story. Very
much a sum of its considerable parts, A Few Empty Chairs
nonetheless eschews a simple collaborative venture that
signposts the various protagonists individual contributions in
favour of a cohesive and highly evolved collection of music
that defies easy categorisation. Recorded live (but featuring
no intrusive crowd noise), A Few Empty Chairs opens through the
creased electronics and chiming acoustics of Blue And White
where a deep jazz schematic is given bite through nervously
rendered percussion. From here, the title track is a tensely
realized coalition of spiraling piano and heart-stopping
rhythms, Loopholes In My LawnÆ is a soapy spray of cavernous
atmospherics, whilst Ruit Silvermoon is the kind of track which
will give the avant-garde a good name.
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