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Kérjen
árajánlatot! |
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| 1. | Blood and Body
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| 2. | Before the Sermon
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| 3. | Going to Church
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Jazz
Recorded at Seltzer Sound, New York, New York on June 12, 2000
Joe Maneri - Clarinet, Sax (Alto), Sax (Tenor)
Barre Phillips - Bass
Mat Maneri - Producer, Viola
Matthew Shipp - Piano
Randy Peterson - Drums
Roy Campbell - Trumpet
* Carl Seltzer - Engineer
* Flam - Mastering
Following in the tradition of In Full Cry, this version of Joe and Mat Maneri's ensemble that also includes bassist Barre Phillips, Matthew Shipp on piano, drummer Randy Peterson, and Roy Campbell on trumpet is perhaps the most potent yet. A fully involved series of improvisations, Going to Church is a near-suite in three parts. Joe Maneri's conceptual microtonalism is at the root of all of these pieces, where notions of front lines and rhythm sections blur into one another as time itself is stretched beyond recognition. The addition of a second horn player and Shipp on piano is welcome in that with the increased chromatic range, the timbral extensions that are integral to the Maneris' music become almost infinite. Phillips is an intuitive bassist: he uses the harmonic reaches to engender the improvisations with a signature dynamic; he lays back and moves forcefully inside to shore up anything that may get lost. Shipp plays less percussively here, since the instrumentation allows for his gorgeous chord voicings to be heard as a part of the overall work as opposed to their driving force. The most surprising thing here is the role of textural analyst that Mat Maneri plays. He's shaping ambiences and colors, rounding and sharpening edges rather than forming them with his father, Shipp, or Campbell. But it works, as Joe uses his clarinets or saxophones in a manner that can only be described as chanting through the middle of these three pieces. As he winds ribbon-like around the foundations of space, color, texture, and lyrical invention, the title of the album becomes clear. This is music as mystery, divinely inspired and secularly executed. It invokes the sacred in that it doesn't deem to name it or conjure it, but makes it manifest with musical presence. Everything is based on the principle of equanimity here, which creates tension and offers such a myriad of harmonically inventive possibilities as to keep the listener fully engaged for the duration. As evidenced on Going to Church, this version of the Maneri Ensemble is the most exciting yet.
---Thom Jurek, All Music Guide
Joe Maneri
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: 1927 in Brooklyn, NY
Genre: Jazz
Styles: Avant-Garde, Avant-Garde Jazz, Free Improvisation, Free Jazz, Microtonal
Microtonal innovator Joe Maneri was born in Brooklyn, NY, in 1927, learning to play clarinet from a neighborhood shoemaker and making his professional debut on the Catskills society-band circuit at age 17. Three years later, he was introduced to the work of Arnold Schoenberg, the famed inventor of the 12-tone system, and immediately thereafter formed his own 12-tone jazz ensemble, additionally performing in a number of ethnic music combos. A decade of study under composer Joseph Schmidt (himself a former Schoenberg student) followed, before Maneri came to the attention of conductor Eric Leinsdorf, who commissioned him to compose a piano concerto. He made his first recordings for Atlantic in 1962; after the session went unreleased, Maneri was largely silent for the remainder of the decade, finally resurfacing in 1970 teaching theory and composition at the New England Conservatory of Music. Exploring microtones in his subsequent compositions and improvisations alike, Maneri's first officially released recording, 1991's Kavalinka, found him joined by his violinist son Mat and percussionist Masashi Harada. Two more efforts -- the Leo Lab session Get Ready to Receive Yourself, and Three Men Walking, an ECM date featuring guitarist Joe Morris -- followed in 1995. Bassist Barre Phillips joined the Maneris for Tales of Rohnlief.
---Jason Ankeny, All Music Guide |
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