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CD |
| 4.391 Ft
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| 1. | The Mayan (The Worriers)
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| 2. | U-Bah (She Performs)
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| 3. | Na Kub Kai (Her Name Is Moon God)
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| 4. | Mi Kuba (His Name)
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| 5. | Adi (It Has Come to Pass)
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| 6. | U Cham (She Lets)
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| 7. | U Bah (He Goes)
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| 8. | Mi Kuba Na (His Name Is She)
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| 9. | Ti Ak Ot (Dancing)
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| 10. | Ti Hasaw-Chan [With a Flag We Wave Good Bye to the Past and Welco]
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Jazz / Modern Creative, Post-Bop, Avant-Garde Jazz
Dominic Duval - Photography, Bass
Jason Kao Hwang Violin
Leo Feigin Producer
Ron Lawrence Viola
Rosie Hertlein Artwork, Design, Photography
Stan Wijnans Engineer
Tomas Ulrich Cello
Dominic Duval's previous CDs with the C.T. String Quartet got the highest critical acclaim.
With this new recording, Dominic Duval (bass), Tomas Ulrich (cello), Jason Hwang (violin) and Ron Lawrence (viola) take their instant composing to new heights.
These four virtuosos sacrifice their egos for the sake of finding a totally unique sound in the history of chamber ensembles.
This is another splendid, utterly compelling recording from bassist Dominic Duval and his C.T. Quartet, complete with Duval on string bass Tomas Ulrich on cello, Jason Hwang on violin, and Ron Lawrence on viola. Each of the 12 tracks is dedicated to the Mexican people, though there is nothing particularly ethnic about the music. The songs reach deeply into the dark recesses where modern classical music and free jazz intersect. There is a noir quality to it all -- one that inflames passion, though it never loses sight of itself. For those who have never experienced the richness of acoustic strings -- or who think that the concept of the string quartet is somehow staid or boring -- this group is a good antidote. These exciting and startlingly creative improvisations evolve from deep in the soul: Don't miss it! ~ Steven Loewy, All Music Guide
Dominic Duval
Active Decades: '60s, '70s, '80s, '90s and '00s
Genre: Jazz
Styles: Modern Creative, Post-Bop, Free Jazz, Avant-Garde Jazz, Jazz Instrument, Guitar Jazz
During the '90s, Dominic Duval was one of the two most active bassists on New York's free jazz scene (the other being William Parker). Few musicians are more dedicated to the principles of free improvisation than Duval. While he reads adequately and is capable of playing other jazz idioms, absolute freedom of expression is paramount in Duval's art. He has a prodigious technique; Duval plays the bass like an elongated guitar, so fast are his lines and textures. He seldom plays the traditional role of a bassist in an ensemble. Rather than provide a low-pitched harmonic/rhythmic foundation, Duval more often than not plays like a horn player, interacting freely with other members of the ensemble. Duval's recording career didn't begin in earnest until he was around 50, but he's spent the years since making up for lost time. He has unquestionably become one of the most-recorded free jazz bassists on the planet. Beginning in the mid-'90s, an association with producer Bob Rusch's C.I.M.P. and Cadence Jazz labels and producer Leo Feigin's Leo Records led to Duval's appearances on an extraordinary number of albums. It can even be said that the sheer volume of his recordings has worked against him, in that few of his albums can be called essential; virtually everything Duval's recorded presents him in a positive light, yet there's so much to choose from, one hardly knows where to begin. One place might be Nightbird Inventions, a solo disc made for Cadence Jazz on which Duval electronically manipulates the bass to fascinating ends. Other collaborations of note include the band Trio X, a cooperative trio with saxophonist Joe McPhee and drummer Jay Rosen, and his various projects with the shamefully underrated saxophonist Mark Whitecage. Duval has also recorded and toured intermittently as a member of pianist Cecil Taylor's band.
---Chris Kelsey, All Music Guide |
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