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Elliott Sharp Aggregat - Quintet (2013) [Free Jazz]; FLAC (tracks+.cue)

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Elliott Sharp Aggregat - Quintet (2013) [Free Jazz]; FLAC (tracks+.cue)

Unread postby Mike1985 » 10 Jun 2018, 14:23


Artist: Elliott Sharp Aggregat
Album: Quintet
Genre: Free Jazz
Label: Clean Feed
Released: 2013
Quality: FLAC (tracks+.cue)
Tracklist:
  1. Magnetar (03:01)
  2. Katabatics (07:55)
  3. Arc of Venus (04:45)
  4. Anabatics (04:31)
  5. Qubits (03:04)
  6. Blues for Butch (06:32)
  7. Lacus Temporis (05:43)
  8. Dissolution (02:02)
  9. Historical Friction (07:05)
  10. Laugh out Loud (For Lol Coxhill) (02:17)
  11. Cherenkov Light (04:41)

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On guitarist Elliot Sharp's new recording you'll hear plenty of horns and a fiery rhythm section, but you will not hear a guitar. Fans of the first Aggregat album, by the Elliot Sharp Trio, know that Sharp switched to saxophone for a good portion of the recording. Always an experimental guitarist, Aggregat showed a more 'conventional' side of Sharp's compositions of angular heads and ensemble playing. On the quintet album, Sharp's convoluted tunes unwind in similarly wonderful ways, perhaps even a bit knottier than the trio. 'Magnatar' kicks off he album with an elliptical figure from trumpeter Nate Wooley. Sharp's sax offers a counter melody before all three horns break into an improvisation that contains the right ingredients: conflict, agreement, stops and starts. Bassist Brad Jones and dummer Ches Smith keep the piece flowing with a tight groove until a stuttering passage ends the tune. 'Katabatics' features trombonist Terry Green on a growling and churning solo, complimented by Sharp's spiky runs. Another highlight is 'Blues for Butch' where a composed head quickly passes into a dense group impovization. The closing tune, 'Cherenkov Light' is a study of extended techniques on the horns, where breath and space are on equal footing with the instruments actual tones and notes. The group interplay throughout is exemplary and the potentially crowded musical space of a quintet is given plenty of space to stretch out. Quintet is a tough and rewarding recording that can stand many many listens, it doesn't pull punches and has many passages that are as challenging as ones that are easily digestible, which in turns makes for a fantastic album. ~ paul acquaro, freejazzblog.org, january 4, 2014

Elliott Sharp is one of New York downtown scene's more notorious affiliates, primarily heralded for his avant-garde guitar work, spanning jazz improvisation, jazz-rock, and blues-rock. He's also an accomplished reedman, evidenced on Quintet and previous ventures into the free-jazz space. Sharp once again aligns with like- minded New York-based artists, some of whom are leaders, and busy session artists. Residing within a controlled-chaos type scenario, the soloists engage in some intense duels when all hell breaks loose, but also temper the outlook with edgy, inward-looking minimalism. Sharp's brisk phrasings, tinted with vibrato and popping notes, often instigate the proceedings or generate a loosely based platform for the improvisational component. Defined on a bustling musical environment, the quintet kicks it into tenth-gear on the scrappy and somewhat voluble "Katabatics." It's an open-forum, where much of the emphasis is placed on the frontlines' interactions and expansions with concise statements and a looping improv motif. They eventually calm the festivities down then assert a bit of fire and brimstone for the finale, as the piece "Qubits," features a motif devised on anguish and discontent atop a swarming pulse. "Blues For Butch" is a mid-tempo blues inflected jaunt, touched with a smidgeon of expressive balladry. Yet the musicians lean towards an open-ended panorama via vivid extended note phrasings and tumultuous multipart exchanges amid a staggered flow. On the final track "Cherenkov Light (for Lol Cohxill)," Sharp pays reverence to the late British saxophonist Lol Cohxill with a low-key storyline, incited by Nate Wooley's muted trumpet lines and the band's acoustic-instrument treatments that perhaps simulate electronics processing. Otherwise, Sharp's choice of running with pieces clocking in between two and seven-minutes in length helps broaden the program's scope and elevate interest, since each composition offers dissimilar contexts and variable thematic currents.

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