Luminous
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| Live album by Simon Nabatov , Barry Guy , Gerry Hemingway | ||||
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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) |
12 |
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running time |
77: |
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Danas Mikailionis, Valery Anosov |
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Studio (s) |
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Luminous is a live album by the trio of Simon Nabatov , Barry Guy and Gerry Hemingway . The recordings were made on October 30 and 31, 2015 in the Cologne Loft and were released on November 18, 2018 on the NoBusiness Records label .
background
The first encounter between the three musicians was one of four new trios that Nabatov convened in 2015 as part of a project to celebrate his quarter of a century in the city of Cologne. What follows "is a program of a dozen detailed collective inventions," according to John Sharpe. Nabatov had other encounters in this series a. a. with Gareth Lubbe (viola) and Ben Davis (cello) ( In Chambers ).
Track list
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- Simon Nabatov, Barry Guy, Gerry Hemingway: Luminous (NoBusiness Records NBCD 112)
- Slip Away 6:51
- Basket Glide 6:34
- Vacant Prophecy 6:25
- Parting 5:58
- Forty Days 4:03
- Shards Examined 2:52
- Great Disparity 9:15
- Scroll Back 6:46
- Luminous 2:30
- Scattered Together 4:27
- Soothing Mirage 5:28
- Unfrozen Sorrow 8:53
- All titles are by Simon Nabatov, Barry Guy and Gerry Hemingway.
reception
Hans-Bernd Kittlaus wrote in the Jazz Podium : “The trio offers group improvisation without a network and securing between euphony and violent dissonance . The terms time, beat and rhythm become very relative here and are just as much elements of improvisation as melody and harmony. The spectrum ranges from Nabatov's gentle caressing of the keys in 'Forty Days' to Hemingway's melodic marimba to Nabatov's piano pearls in 'Basket Glide' to Guy's muffled bass capades, to Nabatov's piano staccato and Hemingway's stormy drums in 'Vacant Prophecy'. The twelve pieces on the album offer a tour de force of the state of the art of free improvisation , ”the author sums up.
In his review of All About Jazz , John Sharpe praised Nabatov, Barry Guy and Gerry Hemingway as "improvisers of superlatives". “'Slip Away' is just the first example of the intuitive interaction that was repeated in several forms in 77-minute sets. The track begins in nervous, nervous exchanges full of spiky edges stemming from Hemingway's stuttering, percussive pulse. Guy changes so deftly plucking between the upper register, resonant bass and scratchy bug that it seems as if at least two bass players on the box. Nabatov rides in a stream of notes between the resulting currents, with the independence of his hands adding complexity. To balance the intensity, the track ends with a lovely sequence of bass arcs that slide across the fingerboard and are accompanied by an exquisite piano. "
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“Basket Glide”, continues the author, with Hemingway's outstanding marimba conjure up “images of droplets, waves and slowly flowing rivers” and show how much the trio pursues “placement, dynamics and variation of sound”. “Short consonances like marimba and piano repeating a phrase give the audience something to hold on to before they part ways again.” In other places, the trio also examine delicate overtones and reverberations , such as in the fragile ones , ringing “Shards Examined” and “Great Disparity” - although the latter are transformed from high arco glissandos into bold exchanges and breathless shots. "Scroll Back" achieves maximum transparency through airy percussion, metal bars that vibrate between the strings of the bass and hit the innards of the piano. An allusion to the conventional piano trio only appears in the last “Unfrozen Sorrow”, although even there the energy increases through rapid unwinding and attacks.
Daniel Barbiero (Avant Music News) said the twelve tracks ranged from the driving, percussive sounds of "Slip Away", the galvanizing opening track, through the brooding introspection of "Forty Days" and to the timeless, drawn out tones of the title track. “Nabatov's contributions can be highly fragmented and dissonant, gently melodic or erratically urgent,” says the author. Hemingway shows himself here, as in all of his work, as “a consummate colorist with a refined sense of space.” On some pieces he plays tuned percussion, which has a fascinating series of pitch and tone contrasts and similarities with Nabatov's piano. Bass Barry Guys, played conventionally and with advanced techniques, rounds off the collective sound with a muscular, often raw beauty.
Jan Granlie ( Salt Peanuts ) said the music is mostly "intense and persistent" and only occasionally is it brought to the ballad level. But even in the quieter parts there is “an energy in the music that is good for the soul.” The author senses Cecil Taylor's presence in all the pieces in which Nabatov “loosens his tie” and “takes off”. Luminous is an "exciting shot"; the more you deal with it, the better you understand what the three musicians are doing.
Web links
Individual evidence
- ↑ Information from Loft Cologne
- ^ A b John Sharpe: Simon Nabatov / Barry Guy / Gerry Hemingway: Luminous. All About Jazz, March 11, 2019, accessed September 16, 2019 .
- ↑ Program information at Loft Cologne
- ↑ Simon Nabatov, Barry Guy, Gerry Hemingway: Luminous at Discogs
- ↑ Luminous at. NoBusiness Records, May 6, 2019, accessed September 16, 2019 .
- ^ Daniel Barbiero: AMN Reviews: Simon Nabatov, Barry Guy, Gerry Hemingway - Luminous [No Business Records NBCD 112]. Avant Music News, June 27, 2019, accessed September 7, 2019 .
- ↑ January Granlie: Nabatov / GUY / HEMMINGWAY: "Luminous". Salt Peanuts, January 20, 2019, accessed September 17, 2019 (Swedish).