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| 4.391 Ft
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| 1. | Terra Plane
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| 2. | Havoc
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| 3. | Eventide
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| 4. | Solo for Viola
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| 5. | Pizzicato
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| 6. | Allure
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| 7. | Reverence
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| 8. | Reinstatement of Line
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| 9. | Out of Tuning
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| 10. | Withdrawal
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| 11. | Coda 1
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| 12. | Coda 2
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Jazz / Modern Creative, Post-Bop, Avant-Garde Jazz
C.T. String Quartet
Dominic Duval Bass
Jason Kao Hwang Violin
Ro Lawrence Viola
Tomas Ulrich Cello
Named in honor of Cecil Taylor, the C.T. String Quartet is Dominic Duval on bass, Tomas Ulrich on cello, Jason Hwang on violin, and Ron Lawrence on viola.
The quartet draws its inspiration not only from the present but from the moment of creation, its energy welling from the spontaneous exchange of collective improvisation. The music will change your ideas about string ensembles.
Liner notes by Stuart Broomer.
Bassist Dominic Duval joins cellist Thomas Ulrich, new music violinist Jason Hwang, and violist Ron Lawrence to make the C.T. (Cecil Taylor) Quartet on this compelling selection of largely improvised works. If the string ensemble is not your everyday idea of vibrant excitement, you may be stunned by the expressiveness, intensity, and creativity displayed on this recording. With a tip of the hat to some of the more innovative classical composers of the 20th century, The Navigator is about the furthest thing from easy listening imaginable. Most of the dozen cuts are themes sketched by Duval, with plenty of room for individual contributions. Thus, "Pizzicato" explores pointillistic possibilities; "Eventide" reflects a somber, if soothing mood; and "Havoc" is a wild romp through string heaven. Not to be missed, the exquisite, powerful, and joyful group interplay found here is a rare pleasure. ~ Steve 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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