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| 1. | Phenomenology
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| 2. | Lifecycle
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| 3. | Holding Pattern
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| 4. | Koi
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| 5. | Intentionality
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Jazz
Recorded December 9, 2008 at Knoop Studios, River Edge, NJ
LIAM SILLERY trumpet / flugelhorn
MATT BLOSTEIN alto saxophone
JESSE STACKEN piano
THOMAS MORGAN double bass
VINNIE SPERRAZZA drums
Produced by Liam Sillery
Recorded, Mixed, and Mastered by Manfred Knoop
Group photo by Jan Marie Sillery
Artwork by Greg Amend, “Since Then” 2009 Oil and Acrylic on Linen
Cover design by John Bishop
With his 4th OA2 release, trumpeter Liam Sillery continues in the direction of his most recent album "Outskirts," challenging both the musicians and the listener with intricate compositions and compelling improvisation. On "Phenomenology," the band is reactive and supportive, while maintaining their individual personalities to constantly compliment the music. Liam's exploration of the sonic landscapes suggested by his compositions create a sense of melodic intrigue on the Kenny Wheeler-inspired "Koi" and the horn lines cartwheel through the backbeat of "Intentionality." This recording no doubt helps solidify Sillery as "an important voice in 21st Century jazz" (Scott Yanow).
For his fourth album, trumpeter Liam Sillery decided to explore a bit further afield than his previous sets had gone. Walking the line between traditional and free jazz, Phenomenology provides moments of tender melodies and flights of instrumental showcasing alike. The album opens with the title track, starting with nearly but not quite parallel lines between the horns that are at once reminiscent of Miles Davis' tonal work and Albert Ayler's multiple-front approaches. As the piece progresses, there are lengthy exploratory bits from both sax player Matt Blostein and pianist Jesse Stacken, both of whom get to show off some interesting ideas along the way. After a slightly self-contradicting round in "Lifecycle," "Holding Pattern" makes another showcase for outstanding solos from each of the horn players. There's a slow, ranging ballad of sorts in "Koi" that lets the band flow almost tidally for a period, and the album finishes on a somewhat more banging, thrashing number that focuses almost subtly around Vinnie Sperrazza's drums, accentuated at each note with some form of punctuation. It's a fairly short trip from one end of the album to the other, but it's a fine trip with a bevy of interesting melodic ideas along the way. Free jazz, tonal jazz, and straight-ahead improvisation all make their marks, and do so under the cover of a coherent whole. ~ Adam Greenberg, All Music Guide
Liam Sillery
Active Decade: '00s
Genre: Jazz
Styles: Contemporary Jazz, Jazz Instrument, Jazz-Pop, Mainstream Jazz, Trumpet Jazz |
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