Jason Robinson / Janus Ensemble: Resonant Geographies (PFMLP115)

Jeff Kaiser Leave a Comment

[playlist ids="1360"]

PLEASE NOTE: THIS PAGE IS FOR PURCHASING THE DOUBLE LP (VINYL) VERSION.
Please click here for the CD.

Resonant Geographies
Jason Robinson

Jason Robinson’s Janus Ensemble:
Jason Robinson—tenor and soprano saxophones, alto flute
JD Parran—alto and contra alto clarinets, bass flute
Oscar Noriega—Bb and bass clarinets, alto saxophone
Marty Ehrlich—bass clarinet, alto saxophone, flute
Michael Dessen—trombone
Bill Lowe—bass trombone, tuba
Marcus Rojas—tuba
Liberty Ellman—guitar
Drew Gress—bass
George Schuller—drums
Ches Smith—drums, glockenspiel

Recorded at Systems Two, Brooklyn, NY, January 5-6, 2016
Engineered and mixed by Mike Marciano
Produced by Jason Robinson
Recording session produced by Steph Robinson
Recording session assistant: Jamie Sandel
Mastered by Rich Breen, Dogmatic Studios, Burbank, CA
All images by David Gloman. Cover, West Worthington Falls, 2016, 17×21 inches, acrylic on paper (detail). Side A label, Bear Den Falls, 2016, 17×22 inches, acrylic on paper (detail). Side B label, Westfield River, 2016, 17×21 inches, acrylic on paper (detail). Side C label, Gold in Brook Falls, 2016, 11×14 inches, acrylic on paper (detail). Side D label, Gunn Brook Falls, 2015, 18×23 inches, acrylic on paper (detail).
Photography by Scott Friedlander, (c) 2016, used with permission
Graphic design by Ted Killian

Track Titles:

Side A:
Facing East (10:41)
Futures Unimagined (8:12)

Side B:
Confluence (6:55)
Dreaming (8:24)

Side C:
Facing West (6:31)
Circuitry Unbound (8:44)

Side D:
Outcropping (12:14)

All compositions by Jason Robinson (ASCAP)
All rights reserved ℗ and © 2018 Jason Robinson

https://youtu.be/-43JeWvAKRI

Arriving in Montreal in the middle of the Janus Ensemble tour, I watched as my fellow trombonist Bill Lowe wrangled his enormous tuba and bass trombone cases out of the van, through sub-zero winds and icy sidewalks, and into the tiny club where we’d soon perform. This would be a challenge for someone half Bill’s age, but he was unfazed, focused only on warming up all that metal in time for the soundcheck.

We’d been driving all day and I’d spent much of it listening to Bill’s inspiring stories. For a half century, he’s contributed to expanding the ways that African American music is understood, starting out working with celebrated musical innovators in 1960s London and 1970s New York City and continuing through an extensive career that encompasses music making, community engagement, festival organizing, and academic work. As Taylor Ho Bynum points out, despite all this, Bill has “existed somewhat under the radar, partly because he’s been equally committed to teaching and scholarship throughout his career, and partly because the top-down, star-focused version of jazz history rarely leaves room for the artists in the trenches who are the lifeblood of the music.”1

That night, this “lifeblood” was a large band crammed onto the stage without a spare inch, working through a wide-ranging set of Jason Robinson’s music. “Futures Unimagined,” a piece we played and also part of this album, is typical of Jason’s compositional range and sensibility. It begins with an introduction where the only indication in the score is “collective improvisation – start sparse,” giving the band time for a spacious, internal dialogue that differs wildly each time, but eventually coalesces into more intricate notations and then a blues-inflected song form. There, one lush, recurring melodic phrase is scored for trombone on top of clarinets, an allusion to a specific color and orchestration developed by Duke Ellington in his 1930 composition “Mood Indigo.” As if to heighten the connection, Bill’s brilliant trombone solo on this piece combines throat growling and a harmon mute in his own version of a technique pioneered by Ellington’s trombonist “Tricky” Sam Nanton. Eventually the piece ends with a flourish of improvisational dialogue among two drumset players, George Schuller and Ches Smith, cutting to a sparse snare drum gesture played eight times in perfect unison by both drummers, an elusive and only temporary closure before we continue to the next chapter of the suite.

Almost a century ago, Duke Ellington’s early ensemble music helped establish an important new practice of composing music not only for specific instruments, but also for individual improvisers, drawing on each musician’s personal sound for inspiration and raw material. It’s an approach that has since expanded in infinite directions, especially in African American-based improvised music, but always with a powerful dialectic at its core: It depends on and highlights individuality, and it’s also a deeply collective mode of creativity.

That spirit infuses Resonant Geographies, an extended suite Jason has composed for these eleven improvisers, most of whom have performed in his Janus Ensemble since 2008. Compositionally, the suite is a series of sonic reflections on specific locations that have been important to Jason, each movement a kind of tone poem moving through a range of textures and forms related to that memory. But the suite is just as much animated by musical geographies, both those of the improvisers in this band who bring different relationships to jazz traditions, and those of the composers past and present whose influences echo throughout the score, filtered through Jason’s own compositional sensibility.

Multi-reedist J.D. Parran is another individual who has inspired both Jason and me for many years and brings his unique history to this album. Reflecting on his experience growing up in inner city St. Louis during the 1960s, J.D. describes how he was fortunate to have excellent school music teachers that were part of the “talented tenth group of African American educators.” He comments that these teachers, many of whom had recently migrated from the south, were “very, very special in what they had to go through—in mostly traditionally black colleges and universities—to get their education, and the rigorous kind of training that they received.”2

Rigor: “The quality of being extremely thorough, exhaustive, or accurate.” I associate this quality with Parran himself, one of those rare people I’d describe as a master musician. He’s achieved astonishing technique on multiple reed instruments, including less common ones such as the bass saxophone and alto clarinet, and he’s worked as both an interpreter and an improviser across wide-ranging forms of contemporary music, from his early years with mentors in the Black Artist Group (BAG), an important St. Louis collective, through graduate-level formal training and decades of trans-disciplinary, creative collaborations based in New York City. As an improviser, he’s woven all of these diverse experiences into a “very, very special” sound all his own.

I first heard J.D. in the late 1990s, at a solo concert on which he played several reed instruments. I remember being especially stunned by his interpretation of “St. Louis Blues” on bass clarinet. Thinking back now on his sound, I’m reminded of these words:
“In the context of improvised musics that exhibit strong influences from African- American ways of music-making, musical sound—or rather, ‘one’s own sound’—becomes a carrier for history and cultural identity. As Yusef Lateef maintains, ‘The sound of the improvisation seems to tell us what kind of person is improvising. We feel that we can hear character or personality in the way the musician improvises.’”3 —George E. Lewis4

For this album, one place where Jason features J.D. is on “Dreaming,” the middle movement of the suite. Midway into the piece, J.D. interprets a melody that Jason composed to highlight the unique timbre of the alto clarinet, shifting between gradient inflection and incredible precision of pitch with a rich, fluid tone. He then improvises a solo that slowly blooms across multiple registers and propels the band through a kaleidescopic transformation, interacting especially with the dense, rhythmic composite coming from the two drummers. Here as in many other moments on this album, George and Ches are expert alchemists, constantly discovering new ways to mix their two distinct drumset sounds in a dialogue that grounds the band but is always shifting.

In the final section of “Dreaming,” the ensemble navigates a scored section of tempo shifts and dramatic gestures for low brass and reeds. These two effects together make for another historical citation, as specific as the Ellington one: here the reference is to the second movement of Charles Mingus’ album The Black Saint and the Sinner Lady, a landmark recording in the history of long-form suites composed for improvisers.

Hearing this Mingus trace isn’t necessary for enjoying the track’s explosive ending, but the point is that this model of composition always includes such imaginary dialogues, honoring one’s sources in ways that range from explicit to oblique. And the references aren’t always to the distant past—for example, the hocketed texture scored for two tubas and trombone over a churning rhythm section in “Facing West” points towards the work of contemporary composer Henry Threadgill, whose imaginative bands Jason has cited as a formative influence on the instrumentation of the Janus Ensemble. Here again, Jason’s choice of soloist adds to this connection, as this music launches into an otherworldly solo by virtuoso tubist Marcus Rojas, one of several musicians in this band who has played in Threadgill’s ensembles.

This interweaving of personal and collective histories is a reminder of something important about developing one’s “own sound”: you don’t do it alone. This kind of music requires extensive solitary practice and study, but our sounds as improvisers also evolve through infinite reactions and interactions with others, including the musicians we work with and others we know only through records, like the one you are holding now.

This is Jason’s third recording with the Janus Ensemble, which he has been leading in flexible configurations since 2008. All the musicians on this album have been part of the ensemble since then, except for two new additions on this record, the phenomenal reed player Oscar Noriega and myself on trombone. Though I’m new to the Janus ensemble, Jason and I have been close collaborators and friends for about 20 years, working in numerous bands and projects together. We first met when he moved to San Diego for the same reason I did: to study music with George Lewis and Anthony Davis in a graduate program at UC San Diego

Lewis and Davis radically expanded the questions we were asking about music and inspired us in endless ways. They modeled a creative practice that is rigorous in craft, wide open in creative possibility, and always with a thoughtful, complex and individual connection to the world. They encouraged us to develop our own communities and our own music, not just adopt theirs, but they also introduced us, figuratively and literally, to many other artists who would become important inspirations and mentors, including J.D. Parran and Marty Ehrlich, both on this record.

When I first met Jason, he had been playing on various scenes in northern California and had been mentored by the late Mel Graves, a bassist who ran a vibrant and highly original jazz program at Sonoma State University. Jason was immersed in music with typical intensity, having already released an album of his music on his own label while still in his early 20s. He was inquisitive, deep into the saxophone, creating music with darting, angular lines and exuberant grooves. His music had a driving quality, an optimistic, forward momentum, but always with a sense of openness to shifts in direction, whether subtle or extreme.

I still hear that same musical DNA in Jason’s sound, but deepened through two decades of work and expanded to a broader palette through collaborations like this one. This suite is carefully crafted to feature all of the improvisers in both solo and collective contexts while also covering a wide-ranging compositional terrain. Some sections delve deep into texture and sound, either through detailed score notations that exploit the band’s unusual instrumentation, or through improvisations set within imaginative backdrops. Other stretches of music revel in the rich rhythmic and harmonic language of jazz traditions, sometimes recalling the buoyant energies of early big band music and other times with a more abstract lens that evokes later “creative orchestra” explorations. What ties it all together and makes the work a long-form composition rather than just a sequence of varied parts is the dialogue among these different soundworlds, not just between movements but within them; none of the tracks end where they begin, and each travels unpredictably through a different blend of historical references, individual expressions and sonic explorations.

The band you hear on this record is diverse in generation as well as musical backgrounds, and along with those mentioned above, the lineup includes other equally renowned composer-improvisers. Multi-reedist Marty Ehrlich, like J.D. Parran, began his long history of contributions to this music working with musicians from BAG and the AACM in St. Louis during the late 1960s, and over the decades since has created a wide-ranging body of creative work as a composer and collaborator. The versatile bassist and composer Drew Gress has long been one of the most in-demand improvisers on the NYC scene, grounding bands led by an incredible range of contemporary innovators, and the same can be said of acclaimed guitarist and composer Liberty Ellman, another musician here connected to Henry Threadgill, in Liberty’s case through working closely with Threadgill over many years alongside his own projects.

This band encompasses a fascinating cross-section of jazz-inspired contemporary music scenes, broad and difficult to categorize, but one thread running through the Janus Ensemble and Jason’s music is the idea that this wide range of creative expression and method is central to jazz traditions, and always has been. Many people in the jazz industry still seem eager to reinforce old fault lines and put every new record in a particular box, with avant-garde flavors on one side and “traditional” ones on the other. But music like this embodies a more expansive stance, a recognition that a wide spectrum of expressive possibilities is always present to begin with, endlessly woven into new forms by individuals responding to changing contexts. Speaking in Arthur Taylor’s classic 1972 book of musician-to-musician interviews, the great drummer Philly Joe Jones harshly critiques “bag carriers” who superficially imitate the screams of the avant-garde, but he also cites artists like John Coltrane to distinguish experimentalists who are committed to a deep, integrative craft. In response to a question about “freedom music,” Jones deftly deconstructs conventional discursive boundaries by commenting that “everybody’s been playing free. Every time you play a solo you’re free to play what you want to play. That’s freedom right there.”5 I hope you can enjoy this new music by Jason Robinson and the Janus Ensemble in that spirit. Thanks for listening. — Michael Dessen

Works cited
1. Taylor Ho Bynum, “Guest Post: Taylor Ho Bynum on Bill Lowe,” in Destination: Out, Feb. 1, 2012, accessed June 20, 2017 <http://destination-out.com/?p=3384>.
2. Interview with J.D. Parran by Yusef Jones, accessed June 2017: <https://www.youtube.com/watch?v=DMYc63l6OMg>.
3. Yusef A. Lateef, “The Pleasures of Voice in Improvised Music,” in Roberta Thelwell, ed., Views on Black American Music: Selected Proceedings from the Fourteenth, Fifteenth, Sixteenth and Seventeenth Annual Black Musicians’ Conferences, University of Massachusetts at Amherst, No. 3 (1985–1988) pp. 43–46.
4. George E. Lewis, “Too Many Notes: Computers, Complexity and Culture in ‘Voyager,’” Leonardo Music Journal, Vol. 10 (2000), pp. 33-39.
5. Art Taylor. Notes and Tones : Musician-to-Musician Interviews. New York: Da Capo Press, 1993, pp. 47-48.
_______________________________________________________
Resonant Geographies is a meditation on place, memory, relationships, and community. Each movement of the suite is inspired by specific places, a canvas of various experiences and memories for me over a number of years. These are not the sounds of places in a narrow sense, but what is contained here might as well be considered a sounding of those places. A subtle but important distinction. A proportion, a relationship, a scent, a feeling. Like the shifting translucent blues and oranges of a rejuvenating and boundless sunset along the north coast of California, or the warm embraces or knowing glances of friends and loved ones, this project is a process. It continues to unfold. Great heartache, struggle, discovery, and rebirth accompanied/s its long stages. My heart smiles again. I hope that you, the listener, find yourself in the sounds contained here. And I hope we are all guided by compassion and empathy as we sound places, relationships, communities.

This album is dedicated to George Finney Thomason.

I’ve been drawn to the ocean for as long as I can remember. Some of my earliest memories are standing on giant rocks extending into the majestic Pacific some four hours north of San Francisco, while staring with amazement at the spray created by crashing waves, enchanted by the patterns of mussels on rocks, the endless volume of water, the mysterious and beckoning horizon. And the smell—salt, seaweed, richly moist, oxygenated air. I feel at home in this wondrous meeting of water, land, and air. I can still see my great grandfather standing on the bluffs, the rocks, the beaches, and hear his voice as he guides and encourages me to explore. What kind of place is the vast, unimaginably large expanse of the ocean? — Jason Robinson

Deepest thanks to my musical collaborators and friends heard on this recording, whose collaborative spirits and finely tuned personal sound approaches make immeasurable contributions to the music. Thanks also to numerous others who helped make this project possible: Mike Marciano, Rich Breen, Jeff Kaiser, Glenn Siegel, Priscilla Page, Matan Rubinstein, Paul Lichter, Eric Lewis, Jim Staley, Jamie Sandel, and my colleagues at Amherst College. And without the love and support of my closest friends and family, none of this would have been possible. Let’s put this on the turntable, Piccolo. It’s about time!

This recording was made possible by the H. Axel Schupf ’57 Fund for Intellectual Life at Amherst College.

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Jason Robinson / Janus Ensemble: Resonant Geographies (PFMCD115)

Jeff Kaiser Leave a Comment

[playlist ids="1360"]

PLEASE NOTE: THIS PAGE IS FOR PURCHASING THE CD VERSION.
Click here for the double LP (vinyl)

Resonant Geographies
Jason Robinson

Jason Robinson’s Janus Ensemble:
Jason Robinson—tenor and soprano saxophones, alto flute
JD Parran—alto and contra alto clarinets, bass flute
Oscar Noriega—Bb and bass clarinets, alto saxophone
Marty Ehrlich—bass clarinet, alto saxophone, flute
Michael Dessen—trombone
Bill Lowe—bass trombone, tuba
Marcus Rojas—tuba
Liberty Ellman—guitar
Drew Gress—bass
George Schuller—drums
Ches Smith—drums, glockenspiel

Recorded at Systems Two, Brooklyn, NY, January 5-6, 2016
Engineered and mixed by Mike Marciano
Produced by Jason Robinson
Recording session produced by Steph Robinson
Recording session assistant: Jamie Sandel
Mastered by Rich Breen, Dogmatic Studios, Burbank, CA
All images by David Gloman. Cover, West Worthington Falls, 2016, 17×21 inches, acrylic on paper (detail). Side A label, Bear Den Falls, 2016, 17×22 inches, acrylic on paper (detail). Side B label, Westfield River, 2016, 17×21 inches, acrylic on paper (detail). Side C label, Gold in Brook Falls, 2016, 11×14 inches, acrylic on paper (detail). Side D label, Gunn Brook Falls, 2015, 18×23 inches, acrylic on paper (detail).
Photography by Scott Friedlander, (c) 2016, used with permission
Graphic design by Ted Killian

Track Titles:

Facing East (10:41)
Futures Unimagined (8:12)
Confluence (6:55)
Dreaming (8:24)
Facing West (6:31)
Circuitry Unbound (8:44)
Outcropping (12:14)

All compositions by Jason Robinson (ASCAP)
All rights reserved ℗ and © 2018 Jason Robinson

https://youtu.be/-43JeWvAKRI

Arriving in Montreal in the middle of the Janus Ensemble tour, I watched as my fellow trombonist Bill Lowe wrangled his enormous tuba and bass trombone cases out of the van, through sub-zero winds and icy sidewalks, and into the tiny club where we’d soon perform. This would be a challenge for someone half Bill’s age, but he was unfazed, focused only on warming up all that metal in time for the soundcheck.

We’d been driving all day and I’d spent much of it listening to Bill’s inspiring stories. For a half century, he’s contributed to expanding the ways that African American music is understood, starting out working with celebrated musical innovators in 1960s London and 1970s New York City and continuing through an extensive career that encompasses music making, community engagement, festival organizing, and academic work. As Taylor Ho Bynum points out, despite all this, Bill has “existed somewhat under the radar, partly because he’s been equally committed to teaching and scholarship throughout his career, and partly because the top-down, star-focused version of jazz history rarely leaves room for the artists in the trenches who are the lifeblood of the music.”1

That night, this “lifeblood” was a large band crammed onto the stage without a spare inch, working through a wide-ranging set of Jason Robinson’s music. “Futures Unimagined,” a piece we played and also part of this album, is typical of Jason’s compositional range and sensibility. It begins with an introduction where the only indication in the score is “collective improvisation – start sparse,” giving the band time for a spacious, internal dialogue that differs wildly each time, but eventually coalesces into more intricate notations and then a blues-inflected song form. There, one lush, recurring melodic phrase is scored for trombone on top of clarinets, an allusion to a specific color and orchestration developed by Duke Ellington in his 1930 composition “Mood Indigo.” As if to heighten the connection, Bill’s brilliant trombone solo on this piece combines throat growling and a harmon mute in his own version of a technique pioneered by Ellington’s trombonist “Tricky” Sam Nanton. Eventually the piece ends with a flourish of improvisational dialogue among two drumset players, George Schuller and Ches Smith, cutting to a sparse snare drum gesture played eight times in perfect unison by both drummers, an elusive and only temporary closure before we continue to the next chapter of the suite.

Almost a century ago, Duke Ellington’s early ensemble music helped establish an important new practice of composing music not only for specific instruments, but also for individual improvisers, drawing on each musician’s personal sound for inspiration and raw material. It’s an approach that has since expanded in infinite directions, especially in African American-based improvised music, but always with a powerful dialectic at its core: It depends on and highlights individuality, and it’s also a deeply collective mode of creativity.

That spirit infuses Resonant Geographies, an extended suite Jason has composed for these eleven improvisers, most of whom have performed in his Janus Ensemble since 2008. Compositionally, the suite is a series of sonic reflections on specific locations that have been important to Jason, each movement a kind of tone poem moving through a range of textures and forms related to that memory. But the suite is just as much animated by musical geographies, both those of the improvisers in this band who bring different relationships to jazz traditions, and those of the composers past and present whose influences echo throughout the score, filtered through Jason’s own compositional sensibility.

Multi-reedist J.D. Parran is another individual who has inspired both Jason and me for many years and brings his unique history to this album. Reflecting on his experience growing up in inner city St. Louis during the 1960s, J.D. describes how he was fortunate to have excellent school music teachers that were part of the “talented tenth group of African American educators.” He comments that these teachers, many of whom had recently migrated from the south, were “very, very special in what they had to go through—in mostly traditionally black colleges and universities—to get their education, and the rigorous kind of training that they received.”2

Rigor: “The quality of being extremely thorough, exhaustive, or accurate.” I associate this quality with Parran himself, one of those rare people I’d describe as a master musician. He’s achieved astonishing technique on multiple reed instruments, including less common ones such as the bass saxophone and alto clarinet, and he’s worked as both an interpreter and an improviser across wide-ranging forms of contemporary music, from his early years with mentors in the Black Artist Group (BAG), an important St. Louis collective, through graduate-level formal training and decades of trans-disciplinary, creative collaborations based in New York City. As an improviser, he’s woven all of these diverse experiences into a “very, very special” sound all his own.

I first heard J.D. in the late 1990s, at a solo concert on which he played several reed instruments. I remember being especially stunned by his interpretation of “St. Louis Blues” on bass clarinet. Thinking back now on his sound, I’m reminded of these words:
“In the context of improvised musics that exhibit strong influences from African- American ways of music-making, musical sound—or rather, ‘one’s own sound’—becomes a carrier for history and cultural identity. As Yusef Lateef maintains, ‘The sound of the improvisation seems to tell us what kind of person is improvising. We feel that we can hear character or personality in the way the musician improvises.’”3 —George E. Lewis4

For this album, one place where Jason features J.D. is on “Dreaming,” the middle movement of the suite. Midway into the piece, J.D. interprets a melody that Jason composed to highlight the unique timbre of the alto clarinet, shifting between gradient inflection and incredible precision of pitch with a rich, fluid tone. He then improvises a solo that slowly blooms across multiple registers and propels the band through a kaleidescopic transformation, interacting especially with the dense, rhythmic composite coming from the two drummers. Here as in many other moments on this album, George and Ches are expert alchemists, constantly discovering new ways to mix their two distinct drumset sounds in a dialogue that grounds the band but is always shifting.

In the final section of “Dreaming,” the ensemble navigates a scored section of tempo shifts and dramatic gestures for low brass and reeds. These two effects together make for another historical citation, as specific as the Ellington one: here the reference is to the second movement of Charles Mingus’ album The Black Saint and the Sinner Lady, a landmark recording in the history of long-form suites composed for improvisers.

Hearing this Mingus trace isn’t necessary for enjoying the track’s explosive ending, but the point is that this model of composition always includes such imaginary dialogues, honoring one’s sources in ways that range from explicit to oblique. And the references aren’t always to the distant past—for example, the hocketed texture scored for two tubas and trombone over a churning rhythm section in “Facing West” points towards the work of contemporary composer Henry Threadgill, whose imaginative bands Jason has cited as a formative influence on the instrumentation of the Janus Ensemble. Here again, Jason’s choice of soloist adds to this connection, as this music launches into an otherworldly solo by virtuoso tubist Marcus Rojas, one of several musicians in this band who has played in Threadgill’s ensembles.

This interweaving of personal and collective histories is a reminder of something important about developing one’s “own sound”: you don’t do it alone. This kind of music requires extensive solitary practice and study, but our sounds as improvisers also evolve through infinite reactions and interactions with others, including the musicians we work with and others we know only through records, like the one you are holding now.

This is Jason’s third recording with the Janus Ensemble, which he has been leading in flexible configurations since 2008. All the musicians on this album have been part of the ensemble since then, except for two new additions on this record, the phenomenal reed player Oscar Noriega and myself on trombone. Though I’m new to the Janus ensemble, Jason and I have been close collaborators and friends for about 20 years, working in numerous bands and projects together. We first met when he moved to San Diego for the same reason I did: to study music with George Lewis and Anthony Davis in a graduate program at UC San Diego

Lewis and Davis radically expanded the questions we were asking about music and inspired us in endless ways. They modeled a creative practice that is rigorous in craft, wide open in creative possibility, and always with a thoughtful, complex and individual connection to the world. They encouraged us to develop our own communities and our own music, not just adopt theirs, but they also introduced us, figuratively and literally, to many other artists who would become important inspirations and mentors, including J.D. Parran and Marty Ehrlich, both on this record.

When I first met Jason, he had been playing on various scenes in northern California and had been mentored by the late Mel Graves, a bassist who ran a vibrant and highly original jazz program at Sonoma State University. Jason was immersed in music with typical intensity, having already released an album of his music on his own label while still in his early 20s. He was inquisitive, deep into the saxophone, creating music with darting, angular lines and exuberant grooves. His music had a driving quality, an optimistic, forward momentum, but always with a sense of openness to shifts in direction, whether subtle or extreme.

I still hear that same musical DNA in Jason’s sound, but deepened through two decades of work and expanded to a broader palette through collaborations like this one. This suite is carefully crafted to feature all of the improvisers in both solo and collective contexts while also covering a wide-ranging compositional terrain. Some sections delve deep into texture and sound, either through detailed score notations that exploit the band’s unusual instrumentation, or through improvisations set within imaginative backdrops. Other stretches of music revel in the rich rhythmic and harmonic language of jazz traditions, sometimes recalling the buoyant energies of early big band music and other times with a more abstract lens that evokes later “creative orchestra” explorations. What ties it all together and makes the work a long-form composition rather than just a sequence of varied parts is the dialogue among these different soundworlds, not just between movements but within them; none of the tracks end where they begin, and each travels unpredictably through a different blend of historical references, individual expressions and sonic explorations.

The band you hear on this record is diverse in generation as well as musical backgrounds, and along with those mentioned above, the lineup includes other equally renowned composer-improvisers. Multi-reedist Marty Ehrlich, like J.D. Parran, began his long history of contributions to this music working with musicians from BAG and the AACM in St. Louis during the late 1960s, and over the decades since has created a wide-ranging body of creative work as a composer and collaborator. The versatile bassist and composer Drew Gress has long been one of the most in-demand improvisers on the NYC scene, grounding bands led by an incredible range of contemporary innovators, and the same can be said of acclaimed guitarist and composer Liberty Ellman, another musician here connected to Henry Threadgill, in Liberty’s case through working closely with Threadgill over many years alongside his own projects.

This band encompasses a fascinating cross-section of jazz-inspired contemporary music scenes, broad and difficult to categorize, but one thread running through the Janus Ensemble and Jason’s music is the idea that this wide range of creative expression and method is central to jazz traditions, and always has been. Many people in the jazz industry still seem eager to reinforce old fault lines and put every new record in a particular box, with avant-garde flavors on one side and “traditional” ones on the other. But music like this embodies a more expansive stance, a recognition that a wide spectrum of expressive possibilities is always present to begin with, endlessly woven into new forms by individuals responding to changing contexts. Speaking in Arthur Taylor’s classic 1972 book of musician-to-musician interviews, the great drummer Philly Joe Jones harshly critiques “bag carriers” who superficially imitate the screams of the avant-garde, but he also cites artists like John Coltrane to distinguish experimentalists who are committed to a deep, integrative craft. In response to a question about “freedom music,” Jones deftly deconstructs conventional discursive boundaries by commenting that “everybody’s been playing free. Every time you play a solo you’re free to play what you want to play. That’s freedom right there.”5 I hope you can enjoy this new music by Jason Robinson and the Janus Ensemble in that spirit. Thanks for listening. — Michael Dessen

Works cited
1. Taylor Ho Bynum, “Guest Post: Taylor Ho Bynum on Bill Lowe,” in Destination: Out, Feb. 1, 2012, accessed June 20, 2017 <http://destination-out.com/?p=3384>.
2. Interview with J.D. Parran by Yusef Jones, accessed June 2017: <https://www.youtube.com/watch?v=DMYc63l6OMg>.
3. Yusef A. Lateef, “The Pleasures of Voice in Improvised Music,” in Roberta Thelwell, ed., Views on Black American Music: Selected Proceedings from the Fourteenth, Fifteenth, Sixteenth and Seventeenth Annual Black Musicians’ Conferences, University of Massachusetts at Amherst, No. 3 (1985–1988) pp. 43–46.
4. George E. Lewis, “Too Many Notes: Computers, Complexity and Culture in ‘Voyager,’” Leonardo Music Journal, Vol. 10 (2000), pp. 33-39.
5. Art Taylor. Notes and Tones : Musician-to-Musician Interviews. New York: Da Capo Press, 1993, pp. 47-48.
_______________________________________________________
Resonant Geographies is a meditation on place, memory, relationships, and community. Each movement of the suite is inspired by specific places, a canvas of various experiences and memories for me over a number of years. These are not the sounds of places in a narrow sense, but what is contained here might as well be considered a sounding of those places. A subtle but important distinction. A proportion, a relationship, a scent, a feeling. Like the shifting translucent blues and oranges of a rejuvenating and boundless sunset along the north coast of California, or the warm embraces or knowing glances of friends and loved ones, this project is a process. It continues to unfold. Great heartache, struggle, discovery, and rebirth accompanied/s its long stages. My heart smiles again. I hope that you, the listener, find yourself in the sounds contained here. And I hope we are all guided by compassion and empathy as we sound places, relationships, communities.

This album is dedicated to George Finney Thomason.

I’ve been drawn to the ocean for as long as I can remember. Some of my earliest memories are standing on giant rocks extending into the majestic Pacific some four hours north of San Francisco, while staring with amazement at the spray created by crashing waves, enchanted by the patterns of mussels on rocks, the endless volume of water, the mysterious and beckoning horizon. And the smell—salt, seaweed, richly moist, oxygenated air. I feel at home in this wondrous meeting of water, land, and air. I can still see my great grandfather standing on the bluffs, the rocks, the beaches, and hear his voice as he guides and encourages me to explore. What kind of place is the vast, unimaginably large expanse of the ocean? — Jason Robinson

Deepest thanks to my musical collaborators and friends heard on this recording, whose collaborative spirits and finely tuned personal sound approaches make immeasurable contributions to the music. Thanks also to numerous others who helped make this project possible: Mike Marciano, Rich Breen, Jeff Kaiser, Glenn Siegel, Priscilla Page, Matan Rubinstein, Paul Lichter, Eric Lewis, Jim Staley, Jamie Sandel, and my colleagues at Amherst College. And without the love and support of my closest friends and family, none of this would have been possible. Let’s put this on the turntable, Piccolo. It’s about time!

This recording was made possible by the H. Axel Schupf ’57 Fund for Intellectual Life at Amherst College.

pfMENTUM
PFMCD115
www.pfmentum.com

Two new releases! Tim Perkis/Scott Walton and Quentin Tolimieri

Two new exciting albums! Applied Cryptography Tim Perkis – electronics • Scott Walton – piano An exciting duo of veteran improvisors featuring stunning playing on piano and electronics. AND Pianist/composer Quentin Tolimieri, a new artist to pfMENTUM, releases a beautiful debut, simply titled: Piano. As per usual, more to read and free tracks at: pfMENTUM.com While you are on the …

Virtual Tour: A Reduced Carbon Footprint Concert Series. Featuring Mark Dresser, Michael Dessen, Nicole Mitchell, Sarah Weaver, Gerry Hemingway and more.

Mark Dresser / Nicole Mitchell / Myra Melford / Michael Dessen: Virtual Tour: A Reduced Carbon Footprint Concert Series (PFMDVD094)

Jeff Kaiser Leave a Comment

In April 2013, a quartet of renowned composer-improvisers—Mark Dresser, Nicole Mitchell, Myra Melford and Michael Dessen—performed an unprecedented “virtual tour” of new music conceived for world-class musicians performing together live in different geographic locations via Internet2. Building on years of prior telematic collaborations and using high-speed bandwidth available only at research and educational institutions, Virtual Tour linked performers and audiences across thousands of miles, using lifelike, uncompressed audio and high definition video to set a new standard for telematic music making. The core quartet, based in San Diego, California, collaborated with a different remote ensemble for each of the three concerts: Jason Robinson, Marty Ehrlich and Bob Weiner in Amherst, Massachusetts; Matthias Ziegler and Gerry Hemingway in Zurich, Switzerland; and Sarah Weaver, Ray Anderson, Jane Ira Bloom, Min Xiao-Fen, and Matt Wilson in Stony Brook, New York. With footage from all three concerts and featuring eleven world premieres designed specifically to explore the unique potentials of this medium, this DVD documents an important step forward in bringing world-class creative music to the telematic stage. Please visit http://virtualtour2013.com for more information on this project.

Total run time approximately 193 minutes

Virtual Tour:

Amherst Concert:
Mr. Not-So TC, composed by Mark Dresser (14:29) (Del Dresser Music/ASCAP)
For Instance, Today, composed by Michael Dessen (16:22) (Cronopio Music/ASCAP)
The Story of My Anxiety, composed by Marty Ehrlich (9:41) (Dark Sounds Music/BMI)
God’s Bits of Wood, composed by Nicole Mitchell (6:25) (Wheatgoddess Creations/ASCAP)
Noema, composed by Jason Robinson (11:59)(Circumvention Music/ASCAP)

Performers in Amherst, MA: Marty Ehrlich, alto saxophone and bass clarinet; Jason Robinson, tenor saxophone and alto flute; Bob Weiner, drums

Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Zurich Concert:
3 Stories, composed by Gerry Hemingway (19:22)(Nagual Music/GEMA/BMI)
Between Walls, composed by Nicole Mitchell (9:45) (Wheatgoddess Creations/ASCAP)
SubTeleToning, composed by Mark Dresser (21:14) (Del Dresser Music/ASCAP)
Buffered Fragments, composed by Matthias Ziegler (14:48) (Matthias Zieger/SUISA)

Performers in Zurich, Switzerland:
Matthias Ziegler, flute; Gerry Hemingway, drums
Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Stony Brook Concert:
Universal Synchrony Music: Volume 1, composed by Sarah Weaver (30:30) (Sarah Weaver Music Publishing, ASCAP)
SubTeleToning, composed by Mark Dresser (25:16) (Del Dresser Music/ASCAP)
Telepathology, composed by Nicole Mitchell (14:41) (Wheatgoddess Creations/ASCAP)

Performers in Stony Brook, NY:
Sarah Weaver, conductor; Jane Ira Bloom, soprano saxophone; Ray Anderson, trombone; Min Xiao Fen, pipa; Matt Wilson, drums; Doug Van Nort, laptop (on Universal Synchrony Music: Volume 1)
Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Additional content:
Program notes for all compositions
Interview with Virtual Tour co-directors Mark Dresser and Michael Dessen

Locations and dates/times:

San Diego location for all 3 performances:
Conrad Prebys Music Center Theatre, University of California, San Diego, CA

For Amherst Concert:
7pm PDT/10pm EDT, April 5, 2013
Buckley Recital Hall, Amherst College, Amherst, MA
For Zurich Concert:
12pm PDT/9pm CET, April 6, 2013
Institute for Computer Music and Technology (ICST), Zurich, Switzerland

For Stony Brook Concert:
4pm PDT/7pm EDT, April 7, 2013
Simons Center for Geometry and Physics, with support from Consortium for Digital Arts, Culture and Technology (cDACT), Stony Brook University, Stony Brook, NY

Production Credits:

Project Directors:
Co-directors of Virtual Tour: Mark Dresser and Michael Dessen
Amherst site director: Jason Robinson
Zurich site director: Matthias Ziegler
Stony Brook site director: Sarah Weaver

In San Diego, CA:
Trevor Henthorn, technology director
Josef Kucera, technology consultant
Antonio Estrada and Andrew Johnson, local audio
Isaac Garcia Muñoz, network audio
Michael Ricca, audio recording
Daniel Ross, recording assistant
Yeung-ping Chen, network video
Kyle Johnson and Ash Smith, documentation video
Jennifer Bewerse, promotion design

In Amherst, MA:
Edmund Keyes, production assistant
Mark Santolucito, production assistant, audio networking
Joshua Baum, production assistant, video networking
Dan Richardson, sound engineer
Rob Ansaldo, networking assistance
Sara Leonard, lighting
Ross Karre and company, video documentation

In Zurich, Switzerland:
Johannes Schütt, network director
Joel de Giovanni and Benjamin Burger, video direction
Daniel Späti, stage director
Simon Könz, sound engineer

In Stony Brook, NY:
Kevin Schinstock, live audio, audio recording
Derek Kwan, network audio
Timothy Vallier, network video
Ross Karre and company, live video, video documentation
Jeanette Oi-Suk Yew, lighting

Post-production:
Audio mixing/mastering: Michael Dessen, Jason Robinson, Stephanie Robinson, Kevin Schinstock, Sarah Weaver, Gerry Hemingway, and Joe Branciforte
Video editing: Ross Karre
DVD production: Trevor Henthorn
Graphic design: Ted Killian

pfMENTUM DVD094
PFMDVD094

And Who Is Not Small

Jeff Kaiser Leave a Comment

“And Who Is Not Small” from Hello the Damage! by Empty Cage Quartet: Kris Tiner, Jason Mears, Ivan Johnson and Paul Kikuchi. Genre: Improvisation, Creative, Composition.

Bubbeleh (PFMCD082)

Jeff Kaiser 1 Comment

[playlist ids="549"]
Andrew Conrad: Clarinet, Tenor Sax
Greg Zilboorg: Trumpet
Lauren Baba: Violin, Viola
Max Kutner: Guitar
Philip Rankin: Wurlitzer, Synthesizer, Melodica, Pump Organ, Tack Piano, Clave, Guiro
Rusty Kennedy: Bass
Colin Woodford: Drums, Congas, Shakers, Rattles, and Ankle Bells

1. Dybbuk Square Dance 3:29
2. Fear of Heights 5:07
3. Schmutzy Glasses 5:26
4. Woulda…Coulda…MESHUGGAH!!! 3:44
5. (An Honest) Living 2:19
6. Choots-Pah 3:55
7. Grepse 4:17
8. Simcha Boytchik Hintele (Puppy Party) 3:35
9. Mosesque 6:56
10. Bubberella 4:30
11. Czytzfachykz 4:54

1, 2, 5, 9, 10 composed by Max Kutner, © 2014 Maladept Music, ASCAP

4, 6, 7, 8 composed by Philip Rankin, © 2014 Jewish Shark Attack, ASCAP

3 composed by Greg Zilboorg, © 2014 Shouting Dog, ASCAP

11 composed by Rusty Kennedy, © 2014 Jewish Shark Attack, ASCAP

Recorded by Samur Khouja at Seahorse Sound Studios, Los Angeles, August 20-22, 2013
Assistant Engineer: Alex DeGroot
Mixed by Brian Saia, October-December 2013
Mastered by John Baffa at TVTray Studios, Simi Valley, CA, December 2013
Produced by Maxwell Ryan דוד Kutner and Philip Jason שַׂמֵחַ Rankin
Executive Producer: William Ross Gibson
Associate Producer: Debra Fredericks, Tamasaurus Rex
Logo by Dawn Chan * Layout and design by J. Carver

Max and Phil would like to thank the band: Greg, Rusty, Lauren, Andrew and Colin. Everyone who helped record this album: Samur, John and especially Brian. KT Pierce for photography and building our website. Phil would like to thank his Mother, Jill; his Father, David; his sister Michele; and his dog, Max. Max would like to thank his family: Leslie, Samantha, Stephanie, Art and Michael for their tireless, inexhaustible support and encouragement. Most importantly we would like to thank everybody who donated to our Indiegogo Campaign. This album would not have been made possible without your generous donations.

pfMENTUM CD082

PFMCD082

Jeff Kaiser / Tom McNalley / Ted Byrnes: External Logic Machine (PFMCD066)

Jeff Kaiser Leave a Comment

[playlist ids="516"]
Jeff Kaiser • Tom McNalley • Ted Byrnes

ONLY AVAILABLE DIGITALLY:

External Logic Machine
Jeff Kaiser: Bb trumpet, quatertone trumpet, flugelhorn
Tom McNalley: Acoustic guitar, tricone resonator guitar
Ted Byrnes: percussion

1. A Disciplinarian Society
2. Attention to the Locality
3. Blood and Genes
4. Cooperation Among Productive Sites
5. For an Entire Working Life
6. Frontier and The Idea
7. He Gave Us A Toolbox
8. Hibernation
9. In Order to Preserve Order
10. Particularly Clear in the Case
11. Potential Rationale
12. The Disequilibria of Circulation
13. Thousands of Daily Practices

Recorded by Jeff Kaiser and Ben Power 3.23.2011 at the ICAM Studio, University of California San Diego
Mixed and Mastered by Jeff Kaiser
Design and layout by Ted Byrnes and Jason Tauritz

All compositions ©2011 Jeff Kaiser Music, ASCAP; Tom McNalley Music, ASCAP

pfMENTUM CD066

PFMCD066