Jul 5 2014
Before Floratone: Mount Analog – “New Skin” (a Safety Net review)
Tucker Martine is a studio magician. His ability to pull together a diverse array of elements and bundle them up into a spellbinding cohesive whole is both impressive and rewarding. Of recent note is the Floratone collaboration of himself, Lee Townsend, Bill Frisell and Matt Chamberlain (plus various guests). Both the self-titled debut and the sophomore release Floratone II were a cagey mix of Frisellian Americana, ambient electronica, post-rock, minimalism, and strains of modern jazz. More relevantly, however, was the music’s mix of mesmerizing beauty and folksy charm… qualities that appeal to both heart and head. And it was music that didn’t really sound like anything else on the scene.
But it wasn’t what started it all. There were similar collaborations which preceded Floratone. Most notably is that of the Mount Analog ensemble and their 2004 sophomore release New Skin.
Mount Analog utilizes many of the same influences and many of the same musicians that conjured up the music of Floratone, but where Floratone is heavier on the Americana sound, Mount Analog is heavier on the post-rock and it also throws in some light doses of the avant-garde.
Mount Analog’s 1997 self-titled debut was all well and good, but it stuck to a minimalism that didn’t really flesh out the other possibilities. It stayed in a comfortable pocket and that was that. But seven years later, on New Skin, Tucker Martine brought a new, dynamic approach to the ensemble, and the result is something quite hypnotic from a cerebral perspective, and, at times, so damn pretty it’s heartbreaking.
The way in which Martine is able to bind seemingly disassociated sounds into a singular expression is what carries this recording. The eerie call of strings, the strangled effects and unpredictable bursts of percussion create an ambiance that is equally alluring and chilling. And on “Harry Smith’s Cats,” Martine adds the field recording of kids playing and laughing to the accompaniment of the slow tolling of piano notes, and the contrast between laughter and fearfulness is jacked up a couple extra notches.
More of this manifests with the deep resonance of bass clarinet providing contrast as the darkness that surrounds the glittering moonlight of omnichord. This alone is worth the price of admission, but that it bursts free from the persistent crash of an upbeat tempo and a guitar contribution that strikes a melodic path right down the center of the song makes for a transcendent moment.
Some tracks are more single-minded, though no less compelling for it. “Freeze Green” has the field recordings of a train station leading into a din of sound that embodies a freight train passing through… drums, harmonica, harmonium, percussion, effects, guitars… they all come blasting through, with a plume of steam the only thing missing.
Just a marvelous album that finds multiple ways to captivate.
Your album personnel: Tucker Martine (drums, cymbals, guitar, harmonica, harmonium, field recordings, omnichord, various other percussion and effects), Fred Chalenor (bass), Bill Frisell (guitar), Jon Hyde (nylon string guitar), Eyvind Kang (harp, viola), Keith Lowe (bass), Steve Moore (piano, trombone, vibraphone, harmonium, mellotron, muted trombone), Doug Wieselman (clarinet, bass clarinet, guitar), Tim Young (guitar), and Bruce Wirth (harmonium, organ, violin).
Released in 2004 on the FILMguerrero label.
Available at: eMusic | Amazon CD
The Safety Net, a Bird is the Worm series that highlights outstanding older albums that may have flown under the radar when first released.
*****
Here’s a video that uses a portion of the song “Gospel Melodica” to create a video postcard of Nathan Clifford Elementary, Falmouth Street, Portland, Maine. It appears to be the class assignment of someone named Leanna Elisabeth. I think it’s really good, maybe even better than good. Definitely right up my alley. Here’s a link to the other videos she’s uploaded to her YouTube page.
*****
And, speaking of Floratone, here’s a link to a review of their second album that I wrote for this site, which, tangentially, talks about their debut, too. Admittedly, I like their debut recording better, but both are way enjoyable. Following this LINK to the review.
Cheers.
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Sep 13 2014
Something Different: Tom Varner – “The Swiss Duos”
But it’s hearing French horn in this context that really drew my interest. It’s not a common instrument to hear on a jazz album, though not unprecedented, either, to be sure. Varner himself has appeared on albums by John Zorn, Miles Davis, Steve Lacy, Bobby Previte and Franz Koglmann (among others), as well as recordings under his own direction and where he was behind the steering wheel. What I most appreciate about this session is that French horn isn’t part of a larger ensemble and acting in a complementary role… Varner’s French horn is standing there in the wide open, and how it interacts with piano is going to come through unobstructed without the distraction of other ensemble instruments. I thought it would be an interesting listen going in, and my assumption was met. The conversations recorded on The Swiss Duos are a winner, measured both as an enjoyable listening experience and as a source of curiosity.
“Bursting Hymn” and “Quasimodo” have Varner offering solemn tones and excitable ones, with pianist George Gruntz serving up some chipper accompaniment. And Gruntz is no less cheerful even when he and Varner speak from the soul on “Big George Blues.” But it’s on a track like “Summertime,” where Varner fully displays the melodic side of his instrument and framing Gruntz’s upbeat disposition in a new light that this particular collaboration shines brightest. It’s an effect given even greater definition on a rendition of “It Could Happen To You,” with its smoky presence and patient, evocative discourse.
It’s the kind of approach Varner adopts in most of his duets with Gabriela Friedli. Both of the tunes “Soft” and “Gabriela” shine down with the distant warmth and hazy form of moonlight. “Big Fall” sees some atonality enter the frame, and the shift to a certain dissonance is completed on the frenetic “Circuits.”
And it’s that kind of behavior that typifies most all of Varner’s duets with pianist Christoph Baumann. Tracks like “Play,” “Barbarians,” and “Alien Bug” present themselves as would a series of sparring sessions… the trade of punches, bobbing and moving, circling one another as they look for an opening. The only reprieve is the melodic interlude of “Funny,” which slows things down and attains a relative peacefulness.
The duets with pianist Hans Feigenwinter represent the strongest collaboration of the four. One of the longer pieces on the recording is a rendition of Feigenwinter’s “Elegy,” which provides Varner his best opportunity for extended melodic development on the album. Feigenwinter, who has a talent for creating sublime music with brass instruments in small combos (see his excellent 2014 album Whim of Fate), continues that trend here. “What Is This Thing Called First Strike Capability?” sees the duo in a greater state of agitation while still showing the same care and concern to melodic development… an approach continued on the melancholy “Cool.”
An interesting recording. I’m glad I stumbled upon it.
Your album personnel: Tom Varner (French horn), George Gruntz (piano), Christoph Baumann (piano), Gabriela Friedli (piano), and Hans Feigenwinter (piano).
Released in 2000 on Unit Records.
Jazz from the Seattle, Washington scene.
Available at: eMusic | Amazon MP3
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By davesumner • Jazz Recommendations, The Safety Net • 2 • Tags: Something Different