Emanation (album)
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| Live album by Sam Rivers | ||||
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Publication |
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| Label (s) | NoBusiness Records | |||
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Format (s) |
CD |
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Title (number) |
2 |
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running time |
76:41 |
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Danas Mikailionis, Ed Hazell |
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Studio (s) |
Jazz Workshop, Boston |
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Emanation is a jazz album by Sam Rivers . The recordings made on June 3, 1971 at the Jazz Workshop , Boston, were released in May 2019 on NoBusiness Records , as the first episode of the Sam Rivers Archive Project .
background
The trio, which Rivers formed at the end of his time with the Cecil Taylor Unit from 1969 to 1971 , played in February 1971 at the Boston Club Jazz Workshop . Excerpts from a recording of these appearances were found on the 1973 Rivers album Hues , which for many at the time was the introduction to the improvised trio music of Rivers, wrote Daniel Barbiero. A later, fuller appearance by the trio, recorded at the Montreux Jazz Festival in July 1973, was released on stream that same year , its first album for Impulse! Records . "But here, on the recording from the Boston Jazz Workshop in June 1971, you can hear a full performance of the group at an early stage in their development."
Sam Rivers had recorded much of his work on tape; Rivers played with bassist Cecil McBee and drummer Norman Connors in this first episode of the Sam Rivers Archive Project , an eight-issue series produced by archivist Ed Hazell and label owner Danas Mikailionis . This multi-instrumentalist trio was later dwarfed by the formation of Dave Holland and Barry Altschul in the 1970s , wrote Bill Shoemaker . The original session was produced by Ed Michel , who was responsible for Impulse! worked.
The album documents the entire performance, which is divided into two sections. Things begin immediately: Rivers begins the concert by opening an unaccompanied tenor fanfare, whereupon McBee and Connors get behind him. During the course, Rivers switched from tenor saxophone to flute to piano and soprano saxophone, just as he did with Streams .
Track list
- Sam Rivers Trio Featuring Cecil McBee and Norman Connors: Emanation (NoBusiness Records NBCD 118)
- Emanation Part I 31:09
- Emanation Part I 45:32
reception
In the opinion of Suzanne Lorge, who reviewed the album for the Down Beat , the two tracks on the album crackle with intensity as Rivers navigates the troubled terrain between bop and avant-garde, classic and modern with his instruments. “What starts with a simple (albeit out) melodic intro soon turns into cacophonic splendor. But in and between the squeaks and screams there are moments of quiet impressionistic beauty. ”This is a masterful representation, the author sums up.
Derek Taylor said in Dusted that Rivers introductory tenor exploration is at the same time out of date and very consciously connected to bass and drums, which then align with the lively forward dynamic. Numerous recalibrations followed in moments in which Rivers picked up and discarded melodic material at will, while the music was imperturbably pushed forward without overly dominating it, Taylor noted. “Given the ingenuity throughout the tenor passage, the shift to the first of two flute sections after a virtuoso solo statement by McBee feels bittersweet, if only at the beginning, as Rivers almost immediately justifies the change with more ingenuity. After a short break, the bass and drums continue their business from their respective corners, assisting the leader's aerial improvisations through responsive exposures arising from deep listening. This is followed by equally convincing segments for piano and soprano, but the biggest surprise comes late in the performance when Rivers, who plays the flute again, breaks his expulsions into delirious glossolalia , interrupted by a sudden and warning call. "
John Sharpe awarded the album in All About Jazz with four stars and said that Rivers played on the flute more folk-like and oriented towards bop. When he switches to the piano, where he is reminded of both the early Cecil Taylor and classical romanticism, the background becomes more structured and free. Rivers constantly reinvigorate its lines, working in wide arcs without a safety net, using licks and untimely figures to start over and over, and occasionally mirroring its companions, especially some of Connors' rhythmic phrases. In the first 20 minutes of the second part, he plays a chirping, hoarse soprano saxophone like a snake charmer. There would be an electrifying section in which he played the flute again, where he interrupted the airy, dancing atmosphere with increasingly louder screams and culminated in screams to “Look out Motherfucka”, who fully believe the harmless tone of his flute work. The vocal screams continue, also performed by Connors and McBee, as Rivers takes turns switching back to the piano before ending in tandem with Connors' drums.
Brian Marley (London Jazz News) noted that within a few years the rougher elements of the performance would be largely smoothed out. Although Emanation was not of the caliber of his subsequent albums, it was an important document that Rivers kept in his personal archive of the most important performances.
“The two sets recorded on Emanations are not only valuable in themselves - the music is exhilarating as expected - but also for what they show about Rivers' approach to free improvisation in a small group,” says Daniel Barbaro. Both sets, each of which is presented as a single long track, “adopt the more or less spontaneous structure of a suite , the segments of which are shaped by the choice of Rivers' instrument as well as constant changes in tempo and dynamics. The suite-like nature of the sets is not just a matter of structure, "wrote the author; “In each section, Rivers spins tightly melodic passages that give the section an unmistakable, thematically coherent profile. The music may unfold as a stream of consciousness, but it is focused and never loses sight of its own musical logic. It's a focused logic that carries over to the rhythm section as well . McBee and Connors support the lead line with fast and slow swing rhythms, Afro-Latin grooves and ostinati or more fluid, meter-less playing at the transition points of the music. Additionally, McBee's long solo on the first set adds a dramatic element of timbre and dynamic contrast to the sound of the entire trio. "
Web links
Individual evidence
- ^ A b Daniel Barbiero: AMN Reviews: Sam Rivers - Emanation. Avant Music News, May 28, 2020, accessed April 28, 2020 .
- ↑ Emanation at No Business Records
- ↑ Sam Rivers Trio Featuring Cecil McBee and Norman Connors: Emanation at Discogs
- ↑ Suzanne Lorge: Sam Rivers Trio Featuring Cecil McBee and Norman Connors: Emanation. Down Beat, August 9, 2019, accessed April 28, 2020 .
- ↑ Derek Taylor: Sam Rivers Trio Featuring Cecil McBee and Norman Connors: Emanation. Dusted, May 31, 2019, accessed April 28, 2020 .
- ↑ Sam Rivers Trio Featuring Cecil McBee and Norman Connors: Emanation. All About Jazz, August 28, 2019, accessed April 28, 2020 .
- ↑ Brian Marley: Sam Rivers Trio Featuring Cecil McBee and Norman Connors: Emanation. London Jazz News, May 6, 2019, accessed September 16, 2020 .