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Everybody's Mouth's a Book
Henry Threadgill & Make a Move
első megjelenés éve: 2001
(2001)

CD
3.821 Ft 

 

IMPORT!
Kosaramba teszem
1.  Platinum Inside Straight
2.  Don't Turn Around
3.  Biggest Crumb
4.  Burnt Til Recognition
5.  Where Coconuts Fall
6.  Pink Water Pink Airplane
7.  Shake It Off
8.  What to Do, What to Do
Jazz

Henry Threadgill - Arranger, Composer, Flute, Liner Notes, Producer, Sax (Alto)
Brandon Ross - Guitar (Acoustic), Guitar (Electric)
Bryan Carrott - Marimba, Vibraphone
Stomu Takeishi - Bass (Electric), Guitar (Bass)

The first release since 1997's Where's Your Cup, Everybodys Mouth's a Book was recorded in February of 2001 with Bill Laswell at the helm along with Henry. With the addition of Bryan Carrott and Dafnis Prieto, Henry Threadgill and Make A Move have come out with a new sound to compliment Henry's new compositions and methodology of composing and improvising. Make A Move is a very specific band for a very specific music, and the results from this session are the beginning of what may one day be seen as a revolution in music as important as any that has happened this century. Henry’s electric band has grown immensely since their last studio effort. Everbodys Mouth's a Book documents what those who have been at Henry's shows already know; he is one of the great composers of this time, and the release of a new Threadgill album is the planting of a sign post in the road of creative music.

* Alex Theoret - Engineer
* Bill Laswell - Mixing
* Dafnis Prieto - Trap Kit
* David Bias - Package Design
* Michael Fossenkemper - Engineer
* Robert Musso - Engineer
* Seth Rosner - Executive Producer

Make a Move is Henry Threadgill's electric band in one sense of the word. Though guitarist Brandon Ross and bassist Stomu Takeishi play acoustic instruments as well, their primary focus in Make a Move is to make their stringed instruments scream unto the heavens. Filling out the group is Threadgill on alto and flute, Bryan Carrott on vibes and marimba, and the only holdover from Zoo-Id, Dafnis Prieto, on drums. This set is issued simultaneously with Zoo-Id's Up Popped Two Lips, also on Pi. This set opens abstractly enough with "Platinum Inside Straight," a meditation on extended mode and interval, with Brandon Ross playing a gorgeous acoustic line on top of Carrott's marimba and then delicately chorded vibes. Takeishi's bass holds the thing to the ground by playing a small series of tone frames over and over, and Threadgill grabs one short flute solo. Things heat up and get funky on "Don't Turn Around," which is driven by the funk in the rhythm section's approach. There's a knotty arpeggio here and there by Ross and Carrott before Threadgill turns "Harlem Nocturne" inside out with his alto. This is film noir soundtrack music George Clinton-style. There is also the trace of the Ornette Coleman-styled Texas blues slithering in and out of Threadgill's playing. The vibes' solo is so off-kilter, it barely holds the time signature and would move off into inner space if it weren't for the chunky, groove-laden bassline of Takeishi. The hippest track on the set, though, is "Shake It Off," with the staggered bass and guitar solos that constitute the track's opening melodic statement. The drive Prieto puts in to keep the pair in track is considerable, and Takeishi just takes off against the snares, followed closely by the arpeggios and razored riffs of Ross. But before it moves off into fusion land, Threadgill and Carrott bring it back, with flute and marimbas whirling around each other and staggering the atonality of the strings with wondrously loopy and flighty playing grounded in minor-seventh modalities and open-toned sonorities, which keep the bassist a part of the rhythm section and Ross in painterly position. This is deft footwork on the part of Threadgill as a leader, who lets his musicians shine and keeps them focused on the task at hand. Everybody's Mouth's a Book is as solid top to bottom as its companion release on Pi.
---Thom Jurek, All Music Guide



Henry Threadgill

Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Feb 15, 1944 in Chicago, IL
Genre: Jazz
Styles: Avant-Garde, Avant-Garde Jazz, Modern Creative

The jazz avant-garde has produced dozens of notable improvisers (not surprisingly, since improvisation is arguably the music's defining element) but relatively few great composers. Henry Threadgill is a member of that exclusive club. With his fellow Chicagoans Anthony Braxton and Muhal Richard Abrams, he's one of the most original jazz composers of his generation. Threadgill's art transcends stylistic boundaries. He embraces the world of music in its entirety, from ragtime to circus marches to classical to bop, free jazz, and beyond. Such might sound merely eclectic in the telling, but in truth, Threadgill always sounds like Threadgill. A given project might exploit a particular genre or odd instrumentation, but whatever the slant, it always bears its composer's inimitable personality. Threadgill is also an alto saxophonist of distinction; his dry, heavily articulated manner is a precursor to that of a younger Chicagoan, the alto saxophonist Steve Coleman (no coincidence, one would suspect). Threadgill took up music as a child, first playing percussion in marching bands, then learning baritone sax and clarinet. He was involved with the AACM (Association for the Advancement of Creative Musicians) from its beginnings in the early '60s, collaborating with fellow members Joseph Jarman and Roscoe Mitchell and playing in Muhal Richard Abrams' legendary Experimental Band. From 1965-1967 he toured with the gospel singer Jo Jo Morris. He then served in the military for a time, performing with an army rock band. After his discharge, he returned to Chicago, where he played in a blues band and resumed his association with Abrams and the AACM. He went on to earn his bachelor's degree in music at the American Conservatory of Music; he also studied at Governor's State University. In 1971 he formed Reflection with drummer Steve McCall and bassist Fred Hopkins. The trio would re-form four years later as Air and would go on to record frequently to great acclaim. It's 1979 album Air Lore featured contemporary takes on such early jazz tunes as "King Porter Stomp" and "Buddy Bolden's Blues," prefiguring the wave of nostalgia which was to dominate jazz in the following decade. Threadgill moved to New York in the mid-'70s, where he began forming and composing for a number of ensembles. Threadgill began showing a love for unusual instrumentation; for instance, his Sextett (actually a septet), used a cellist, and his Very Very Circus included two tubas. In the mid-'90s he landed a (short-lived) recording contract with Columbia, which produced a couple of excellent albums. Throughout the '80s and '90s Threadgill's music became increasingly polished and sophisticated. A restless soul, he never stood still, creating for a variety of top-notch ensembles, every one different. A pair of 2001 releases illustrates this particularly well. On Up Popped the Two Lips (Pi Recordings), his Zooid ensemble combines Threadgill's alto and flute with acoustic guitar, oud, tuba, cello, and drums -- an un-jazz-like instrumentation that nevertheless grooves and swings with great agility. Everybodys Mouth's a Book features his Make a Move band, which consists of the leader's horns, with vibes and marimba, electric and acoustic guitars, electric bass, and drums -- a more traditional setup in a way, but no less original in concept.
---Chris Kelsey, All Music Guide
Weboldal:Pi Recordings

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