endectomorph music
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Shadow Music by Tropos
Out March 17, 2023 ~ Purchase on Bandcamp
Phillip Golub ⋅ piano
Mario Layne Fabrizio ⋅ percussion
Laila Smith ⋅ voice
Track Listing
Endectomorph Music Catalog No.
EMM-014
Recorded by Matt Hayes at Wellspring Sound, Acton, MA on October 5, 2019 ⋅ Mixed by Ted Reichman ⋅ Mastered by Patrick McGee ⋅ Produced by Phillip Golub and Kevin Sun - Cover art and design by Mario Layne Fabrizio - Liner notes by Joe Morris - Total length: 54:00
Mario Layne Fabrizio ⋅ percussion
Laila Smith ⋅ voice
Track Listing
- Nightlight Shadow
- Hurl
- The Garden
- Dark Bulb
- Hitchcock’s Staircase
Endectomorph Music Catalog No.
EMM-014
Recorded by Matt Hayes at Wellspring Sound, Acton, MA on October 5, 2019 ⋅ Mixed by Ted Reichman ⋅ Mastered by Patrick McGee ⋅ Produced by Phillip Golub and Kevin Sun - Cover art and design by Mario Layne Fabrizio - Liner notes by Joe Morris - Total length: 54:00
Liner notes
When originality is the goal, the proper mechanism is necessary to fulfill it. Improvisation can indeed be the thing that facilitates making imagined music that is just too complex—and too alive—to be conveyed effectively as a composition. State of the art improvised music requires a rigor arrived at with a precise understanding of methodology and operational strategies shared in conversation and rehearsal. The ability to decipher how the other players present and respond to material that emerges in the process of performance can result in uniquely cohesive and unpredictable music that can only happen once.
These three musicians have studied the full range of improvised music, can play it with great artistry, and can articulate the what, why and how of it better than most. I can hear their understanding of the composite methodologies of that music throughout these five tracks. They work together with a relaxed control that allows the music to breathe even in the silences.
I hear their deep expression in their restraint, which is both stark and always lovely. I hear their individual decisions as they navigate through the contingencies that emerge as they interact decisively with flexibility: leading, sharing, supporting, and contrasting, but never dominating or impeding the collectively generated elegant forms that emerge. The music never stutters, and nothing is forced. Instead, each sound has its own place in the perfect balance with silence.
This music may be spare, even sometimes stark, but it is also relaxed and comfortable, never contrived or precious. That requires the ability to mix logic with emotion, a factor that sets this apart from more static music in this vein. Having heard them perform works by Ornette Coleman, Albert Ayler, Cecil Taylor and Anthony Braxton, I know this work is connected to them even as it is also informed by their interest in Morton Feldman, John Cage, opera, electronic and pop music, and more. This recording isn’t an attempt to counter any single work, but to complement all of it. It isn’t an argument against density, melody, or accented rhythm; it is their presentation of other things to add to that collection of sounds—those that defy the notion of an exclusive culture or hierarchy. This is another beautiful example in the special continuum where courageous artistic expression made by vibrant young people is truly contemporary and inspiring.
—Joe Morris, July 2022
These three musicians have studied the full range of improvised music, can play it with great artistry, and can articulate the what, why and how of it better than most. I can hear their understanding of the composite methodologies of that music throughout these five tracks. They work together with a relaxed control that allows the music to breathe even in the silences.
I hear their deep expression in their restraint, which is both stark and always lovely. I hear their individual decisions as they navigate through the contingencies that emerge as they interact decisively with flexibility: leading, sharing, supporting, and contrasting, but never dominating or impeding the collectively generated elegant forms that emerge. The music never stutters, and nothing is forced. Instead, each sound has its own place in the perfect balance with silence.
This music may be spare, even sometimes stark, but it is also relaxed and comfortable, never contrived or precious. That requires the ability to mix logic with emotion, a factor that sets this apart from more static music in this vein. Having heard them perform works by Ornette Coleman, Albert Ayler, Cecil Taylor and Anthony Braxton, I know this work is connected to them even as it is also informed by their interest in Morton Feldman, John Cage, opera, electronic and pop music, and more. This recording isn’t an attempt to counter any single work, but to complement all of it. It isn’t an argument against density, melody, or accented rhythm; it is their presentation of other things to add to that collection of sounds—those that defy the notion of an exclusive culture or hierarchy. This is another beautiful example in the special continuum where courageous artistic expression made by vibrant young people is truly contemporary and inspiring.
—Joe Morris, July 2022
Press
"It is too early to suggest it’s the best free jazz recordings of the year but this one is certainly up for consideration!" – O's Place Jazz Magazine
"...searches crucially for a new point of departure" – Marlbank
- O's Place Jazz Magazine (April 2023)
- Jazz/Fluxus (March 2023)
- One Man's Jazz (March 2023)
- Marlbank (January 2023)
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