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| Music for Shattered Light Box and 7 Posters |
| Rob Mazurek |
| első megjelenés éve: 2004 |
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| (2008)
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CD |
| 5.380 Ft
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Avant-Garde / Sound Art; Electro-Acoustic
Getting a grip on the chaos that surrounds us: for American artist and cornet player Rob Mazurek the time has come to make a statement. Every right-minded lover of modern music knows his jazz and post-rock explorations with bands such as Chicago underground duo Isotope 217 and Tortoise. Nevertheless, inside this vintage improviser there also lurks a passionate multimedia artist who likes to speak his mind, especially in a time when his home country is starting to reveal the darkest and most vulnerable corners of its soul. The fact that Mazurek has recently moved to Brazil has not clouded his crystal clear vision of a derailed western civilisation.
Mazurek's installation-cum-composition Music for Shattered Light Box and 7 Posters expresses his personal vision of the world through sight and sound. This frequently exhibited installation revealing in its simplicity. A flickering light box, smashed in with a brick, along with several apocalyptic canvases tell the story of a grimy and chilly underworld. This installation is inextricably linked to the composition which shares its name, which is now available on Bottrop-Boy.
Hold on tight during this forty-minute cascade of sounds in which Mazurek has managed to establish a link between his darkest musical nightmares and the listener who is fed them bit by bit. This loud electronic trip will rarely allow you to come up for air. The source of these electronically excavated and resurrected sounds remains a mystery, but who cares? Uncontrollably splitting noise eruptions, unhinged beats, aching alarms and ominous hisses stutter and splutter past, all but refusing to leave the listener alone. Situated somewhere in the middle between the anarchic beauty of early musique concrète, old industrial Nurse with Wound releases and the rages of Merzbow and Venetian Snares: this is a Rob Mazurek whom few will have ever heard before.
"New solo album from this Chicago Underground musician after albums on Moikai, Walking Road, Delmark and Mego. This is a one long 40-minute composition made for one of his own installations which is travelling the world at the moment. Far away from his delicate cornet-playing, this album is a loud trip through his electronic endeavours. Noisy and mesmeric, this is another great example of this musician's need and talent in taking many different directions in his music." "Over the years, both Jason Kahn and Jon Mueller have explored different means of percussion, finding texture and rhythm in not only acoustic drums, but in their relation to electronic devices. This pursuit also included work with other, non-drum related material. Papercuts is a critical document of this pursuit. Recorded over the course of a year, it was created entirely with various grades of handmade and commercial paper. With an extensive and delicate approach to mixing and electronic processing, this work retains the source of the recording, the grit and feel of dried pulp, and the texture of its interaction with movement and malleability. Here rhythms appear naturally, without intentional effort, to create a new discovery in the world of percussion."
Rob Mazurek
Active Decades: '90s and '00s
Genre: Jazz
Styles: Electronic, Avant-Garde, Neo-Bop, Post-Bop, Hard Bop, Post-Rock/Experimental, Avant-Garde Jazz
Originally rooted in the tradition of hard bop jazz, cornetist Rob Mazurek developed into one of the most consistently exciting pure improvisers of his time. As a founding member of the multifaceted Chicago Underground collective and the 21st century fusion outfit Isotope 217, his playing has redefined musical boundaries through vibrant sonic palettes that defy categorization.
Born in 1965 in Jersey City, NJ, Mazurek moved with his family to the Chicago area as a preteen, and began playing cornet in his school band at the age of ten. After switching briefly to trumpet, he eventually settled on the smaller horn. Upon graduating from high school, the young musician attended the Bloom School of Jazz in Chicago. He got his start as a performer in the city, playing with pianist Kenny Prince and drummer Yoron Israel. Early influences came from the hard bop nucleus of Blue Note Records (particularly the trumpet playing of Lee Morgan, Kenny Dorham, and Freddie Hubbard). It was in this mold that Mazurek shaped his first group, a quartet with drummer George Fludas, bassist John Webber, and pianist Randolph Tressler. In 1993, Mazurek booked an engagement at Edinburgh's Tron Tavern & Ceilidh House for the entire length of the country's Fringe Festival. Though the music was fairly traditional, the performances were a success and the following year the group was offered a deal with Scotland's Hep label. The quartet's promise was certified with Man Facing East in 1994 and Badlands in 1995.
Mazurek was hearing a new sound, however. His creative impulses were being sparked by the music of Ornette Coleman and his cornet-wielding sparring partner from the late '50s, Don Cherry, as well as the Art Ensemble of Chicago. The list would quickly grow to include the free playing of Henry Threadgill, Bill Dixon, and Leo Smith, and by the time of 1996's Green & Blue, Mazurek was beginning to see the limits of his quartet. That year he established the Chicago Underground, a Sunday afternoon workshop at a local bar, the Green Mill. The first person he invited to his new musical high-wire act was guitarist Jeff Parker. The jam sessions quickly attracted a group of regulars including bassist Noel Kupersmith and drummer Chad Taylor, and Mazurek found that he had the core for an ensemble. It was this new crew (completed by trombonist Sara Smith), billed as the Chicago Underground Orchestra, that recorded Playground for Bob Koester's Delmark in 1998. The partnership automatically linked Mazurek's group with a rich tradition of Chicago jazz, as Delmark had championed a number of artists from the city's Association for the Advancement of Creative Musicians.
Mazurek's Orchestra would spawn a number of spinoffs including a Duo (with Taylor), Trio (with Kupersmith), and a Quartet (with Parker), all of which wore the Chicago Underground banner. Parker had moved into the loft of Chicago out-rockers Tortoise a few years earlier and quickly became a full-time member. Two musical worlds -- fringe jazz and fringe rock -- met and Mazurek found himself exposed to an entirely new realm of sonic possibilities. In the years that followed, he made numerous extracurricular appearances, lending his cornet to Tortoise's TNT, Gastr del Sol's Camoufleur, Stereolab's Cobra and Phases Group, and Sam Prekop's solo debut, among others. It was out of this musical cross-fertilization that, in 1997, Isotope 217 was born. A disorienting mix of jazz flourishes, muscular funk, hip-hop reductions, and minimalist electronica, the group was a collaboration between Orchestra members (Mazurek, Parker, and Smith), veteran Chicago bassist Matt Lux, and Tortoise's Dan Bitney and John Herndon. The sextet released its debut, The Unstable Molecule, in 1998, followed by Utonian Automatic (1999) and Who Stole the I Walkman? (2000).
Meanwhile, the music emanating from the Chicago Underground was approaching the realm of pure sound on albums like Synesthesia and Possible Cube. Mazurek had discovered the music of Morton Feldman and Vladimir Ussachevsky as well as visual artists like Mark Rothko, all of which seemed to find a way into the music. As the century drew to a close, he was hard at work developing laptop-constructed musique concrète for his Orton Socket project. Mazurek subsequently moved from the United States to São Paulo, Brazil, and has continued to maintain an internationalist perspective, touring and recording with such ensembles as the São Paulo Underground, the Exploding Star Orchestra, and the improvisational trio Tigersmilk, and presenting new works at the Dieppe Biennale in Normandy, France, in 2007.
---Nathan Bush, All Music Guide |
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