Sedimental
SedCD048
Well, the group name might be a tad overwrought but this is one nicely balanced trio. On the one hand you have Michel Doneda (soprano and sopranino saxophones) for whom harshness is satori, who revels in the (often thrillingly) grating sounds his instruments are capable of whether reed-driven, breath and spittle tinged or banged against the nearest wall. On the other is Giuseppe Ielasi (guitar, electronics), whose ruminations have in recent years veered toward increasingly tonal, melancholy evocations that verge on the romantic (I’m tempted to think he was responsible for the track titles). Mediating these two extremes is Ingar Zach (drums, percussion) whose resourcefulness and sheer coloristic imagination is as much in evidence here as it has been on several other recordings from the last few years.
That triune balance is felt as a clear presence throughout the three pieces on this disc. Not to say that things work perfectly well from the get go—the first track, “floating on the mass of blossoms”, meanders a bit much. While the various areas it visits are independently interesting, full of skittering, nervous sounds only partially leavened by Ielasi’s calming drones, the parts never quite cohere. Things take a mighty stride toward sparkling coalescence with the second cut, however. Zach is very forceful from the start; no more pussyfooting around, coaxing his cohorts into increased agitation and sonic breadth, Ielasi plucking pure, deep tones, Doneda racing through incendiary spurts of razor-sharp breaths, delicious yin and yang. When Zach delves into the metals, the effect is almost hallucinatory. As it begins to go adrift toward its conclusion, there’s a sense of rightness about it, a floating away quality that feels earned.
The final piece, “run fingers over turquoise”, opts for a not unusual approach—the gradual crescendo—but manages to wring an enormous amount of tension from it, resulting in my favorite moments of the recording. Zach initiates the cut with distracted, isolated bangs, channeling Barry Altschul, the others gradually entering with saliva and disjointed twangs. They take their time stirring the pot, Ielasi waiting until about 2/3 the way through the 12 minute work to broaden things with rich, dark strums, high and low, Doneda raising the intensity level a single ratchet at a time, Zach intoning on bass drum. It’s on top of you before you know it, hitherto unheard electronics appearing out of nowhere right at the end. The listener is awash in a dense, multi-textured sound world that’s entirely real, engulfing and surprisingly moving. A beautiful improvisation capping off an altogether excellent album.
Posted by Brian Olewnick on June 12, 2007 6:04 PMJust wanted to add that listeners who enjoy Zach but prefer him in a more rough 'n' tumble atmosphere might be interested to pick up "szc zcz cze zec eci cin", a recording of a May, 2005 concert issued by Musica Genera. Accompanying Zach are Thomas Lehn and Ivar Grydeland. Not my favorite kind of set (I like Lehn in his quieter guise, for one thing) but it has its moments, particularly the last track.
Posted by: Brian Olewnick at June 13, 2007 4:48 PMszc zcz cze zec eci cin.. "I had that same horse when I had my eyes examined" - a great record. If you like Thomas in quieter mode Brian don't miss out on the FABULOUS trio, Tristadekaphonia, with Frank Gratkowski & Melvyn Poore on Leo. Absolutely awesome.
Posted by: Dan Warburton at June 13, 2007 11:27 PMBrian, I loved your descriptions of tracks two and three - they correspond perfectly to my own experience of the music (well, as perfectly as dancing *can* correspond to architecture!).
I agree that the first track doesn't make a strong, immediate claim on the listener's attention in the way that the other two, more eventful tracks do. But, I suspect the first track might fall into the "headphones in the dark" category--i.e., stuff that you have to listen to with absolutely no outside distractions. I'm not going to write it off until I find the time to give it my full attention.
Anyway, great review!
Posted by: Bill R at June 14, 2007 11:02 AMThanks, Bill. Giuseppe informs me that the titles are, in fact, the work of the purportedly hard-edged Doneda. Who knew he was such a softie at heart?
Posted by: Brian Olewnick at June 14, 2007 12:58 PM"the FABULOUS trio, Tristaidekaphonia, with Frank Gratkowski & Melvyn Poore on Leo. Absolutely awesome.'
I couldn't find any reviews. Has nobody ever heard this one ?
Fuck, I saw the "Zach" of the last paragraph and instantly thought: "mmmm well, so this dude Zach Hill is even stretching himself into the fields of microtonal improv or whatever? Surely a crazee thing for the fella to do". And then I read the post from the get-go... OK I'm burned.
I like some of the Ielasi solo stuff but know nothing of Ingar (he's scandinavian, I guess). There's any other record where I can listen to his more "forceful" drumming besides the one named above?
Posted by: karl at June 15, 2007 12:55 AMA.L., try looking for "Triskaidekaphonia". it was spelled wrong above. it's a pun on triskaidekaphobia, fear of the number 13.
Posted by: David Bauwens at June 15, 2007 1:29 AM"... but know nothing of Ingar (he's scandinavian, I guess). There's any other record where I can listen to his more "forceful" drumming besides the one named above?"
Bailey/Zach on Mr. Zach's SOFA-Label
'There's any other record where I can listen to his more "forceful" drumming besides the one named above?'
there's also the huntsville project on rune grammofon. it's Ivar Grydeland, Tonny Kluften and Ingar Zach. this one's not exactly free improv. it's very rhythmic, exotic sounding beatboxes/loops going on and on, electronic soundlayers, a bit ambient, a hint worldmusicflavour, bit jazzy, bit minimal (in repetion) something you can put on without scaring your guests away...
i quite like it.
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