JAZZ, ESE RUIDO reviews EARPRINT

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Our first review comes from Andalusian author and blogger Félix Amador. Full original Spanish text below, followed by amusing Google Translated text (Simón promised he'd translate for us, so look out for that):

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POTENCIA CONTROLADA
por Félix amador

Espectacular debut del joven cuarteto Earprint

Earprint es un cuarteto sin piano ni guitarra, algo poco habitual. Formado por los americanos Kevin Sun(saxo) y Tree Palmedo(trompeta) con el bajista chileno Simón Willson y el baterista israelí Dor Herskovits, el cuarteto lanzan estos días su primer trabajo, titulado como el grupo, Earprint, y editado por la discográfica Endectomorph Music, ubicada en Brooklyn.

Al escuchar el álbum, lo primero que sorprende es el comienzo, impresionista y monkiano, deconstruyendo la melodía de una manera muy inteligente, más grato cuando uno se da cuenta de que está ante un cuarteto muy joven, hecho que quizás justifica lo arriesgado de su propuesta musical, agresiva, contundente, donde sobresale el ansia de riesgo y donde brilla un jazz forzado hasta las últimas consecuencias. "Quería montar algo donde realmente pudiera trabajar en escribirmúsica difícil" ("I wanted to put something together where I could really work on writing difficult music,"), manifiesta Kevin Sun, quien, por cierto, fue discípulo de Miguel Zenón. No hay complacencia.

Earprint es otro disco incómodo que termina siendo un placer para los oídos. Lo mejor: la conjunción espiritual entre los dos instrumentos de viento y la contundencia y el protagonismo que tiene Dor Herskovits en la percusión (un ejemplo fantástico podría ser "The Golden Girder Strikes Again", pero la fuerza de Herskovits está en todo el álbum), algo complejo y demasiado feroz para algunos oídos (estoy seguro) pero que provoca placer, el placer de volver a sentir que el jazz puede transmitir energía.

El álbum contiene temas agresivos como "Happy", cuyos momentos atonales y sus cambios de ritmo dan sentido al concepto del álbum. Según Herskovits, está inspirado en las teorías de Ornette Coleman, pero a mí me recuerda en algunos momentos al Mingus de "A Foggy Day". Otras composiciones, como "School Days", inspirado por el rítmico colorido de una pintura de Allan Rohan Crite, ofrecen una sonoridad rítmica distinta, por momentos festiva, que recuerda (vagamente) sonidos rockeros o caribeños, como si se hubieran traído el concepto de calypso de Sonny Rollins a la batería moderna de jazz. "Anthem" es eso, un peculiar e intenso himno. "The Holy Quiet" está inspirado en los sucesos de Charleston (Carolina del Sur) y está lleno de experimentaciones tímbricas y rítmicas que se completan con el uso de ruidos y efectos; este tema contrasta con el dinamismo de "Colonel", inspirado por los movimientos de un Yorkshire Terrier. "Six Nine" es quizás el tema más completo y complejo del disco, un ejercicio de maestría y temperamento, donde furia y paz, calidez y dureza, se alternan en una composición sorprendente. 

En resumen, 11 temas originales y un cuarteto que asume los riesgos del jazz sin miedo. Recomendable para mentes abiertas.

"Malinger" [sic] es quizás uno de los momentos de (falsa) paz en el disco:

* Web oficial: www.endectomorph.com/earprint.html

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CONTROLLED POWER

Spectacular debut from young quartet Earprint

​*translation courtesy of our esteemed low-end specialist, Simon Willson

Earprint is a quartet without piano or guitar, something fairly uncommon. Formed by the Americans Kevin Sun (sax) and Tree Palmedo (trumpet), the Chilean bassist Simon Willson, and and Israeli drummer Dor Herskovits, the quartet is about to release their first self-titled album, Earprint, published by the Endectomorph record label, based in Brooklyn, NY.
 
When listening to the record, the first thing that jumps out is the impressionistic and Monkian beginning, where they deconstruct the melody in a very intelligent fashion. This is even more enjoyable when one realizes that this is a very young quartet, a fact that maybe justifies the risk of their aggressive and convincing musical offering. They are willing to take risks and they shine when taking jazz to its last consequences. Kevin Sun, a disciple of Miguel Zenon, claims “I wanted to put something together where I could really work on writing difficult music.” There is no complacency.
 
Earprint is another uncomfortable record that ends up being a pleasure for our ears. The best is the spiritual togetherness between the two wind instruments and the protagonism and conviction that Dor Herskovits has on the drums. A great example is “The Golden Girder Strikes Again,” although Herskovits’s powerful drumming is in the whole album. I’m sure this might be something hard to process for some ears, but it provokes pleasure since we get to feel that jazz can indeed transmit energy.
 
The record has aggressive pieces like “Happy”, where atonal moments and rhythmic shifts give meaning to the concept of the album. According to Herskovits, he is inspired by the theories of Ornette Coleman; nevertheless, it reminds me at some points of Mingus’ “A Foggy Day.” Other compositions such as “School Days,” inspired by the colorful and rhythmic painting of Allan Rohan Crite, offer a different sonority.  It is at moments festive, and it vaguely reminds us of rock or caribbean sounds, almost as if they had brought Sonny Rollins’ calypso concept to the modern spectrum of jazz. “Anthem” is a particular and intense hymn. “The Holy Quiet” was inspired by the Charleston shooting in South Carolina. It is full of rhythmic and timbral experiments that are complemented by the use of noises and effects. This tune contrasts with the dynamism of “Colonel”, which is a piece inspired by the movements of a Yorkshire Terrier. “Six Nine” is maybe the most complete and complex piece in the record. It is an exercise in mastery and temperament, where peace, fury, warmth, and harshness are in constant alternation in this surprising composition.
 
In summary, 11 original pieces and a quartet that assumes the risks of jazz with no fear. Recommended for open minds. 

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CONTROLLED POWER

Spectacular debut of the young quartet Earprint

​*translation courtesy of Google Translate

​Earprint is a quartet without piano or guitar, something unusual. Formed by American Kevin Sun (sax) and Tree Palmedo (trumpet) with the Chilean bassist Simon Willson and Israeli drummer Dor Herskovits, the quartet released these days his first work, titled as the group EarPrint, and edited by the Endectomorph record Music, located in Brooklyn.

When listening to the album, the first surprise is the beginning, impressionist and monkiano, deconstructing the tune of a very intelligent, more pleasing way when one realizes that it is at a very young quartet, made perhaps justifies the riskiness of their musical, aggressive, forceful proposal, where stands the desire for risk and where jazz shines forced to the ultimate consequences. "I wanted to set up something where I could really work to write difficult music" ( "I wanted to put something together Where I Could really work on writing difficult music"), says Kevin Sun, who, incidentally, was a disciple of Miguel Zenón. No complacency.

Earprint is another uncomfortable disc that ends up being a treat for the ears. The best: the spiritual union between the two wind instruments and force and the role that has Dor Herskovits on percussion (great example would be "The Golden Girder Strikes Again", but the strength of Herskovits is all over the album) , complex and too fierce for some ears (I'm sure) but it causes pleasure, the pleasure to feel that jazz can transmit energy.

Quartet without piano. They seem to ask: Why a piano?

The album contains aggressive songs like "Happy", whose atonal moments and rhythm changes give meaning to the concept of the album. According to Herskovits, it is inspired by the theories of Ornette Coleman, but it reminds me at times to Mingus "A Foggy Day". Other compositions, such as "School Days", inspired by the colorful rhythm of a painting by Allan Rohan Crite, offer a different rhythmic sound, for festive moments, reminiscent (vaguely) rock sounds or Caribbean, as if they had brought the concept of Sonny Rollins calypso to modern jazz drummer. "Anthem" is that, a peculiar and intense anthem. "The Holy Quiet" is inspired by the events in Charleston (South Carolina) and is full of rhythmic and timbral experiments that are complemented by the use of sounds and effects; this issue contrasts with the dynamism of "Colonel", inspired by the movements of a Yorkshire Terrier. "Six Nine" is perhaps the most complete and complex theme of the album, an exercise of mastery and temperament, where rage and peace, warmth and hardness, alternating in a striking composition.

In summary, 11 original tracks and a quartet of jazz takes risks without fear. Suitable for open minds.

"Malinger" [sic] is perhaps one of the moments of (false) peace on disk: