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| 4.250 Ft
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| 1. | Act I
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| 2. | Act II
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| 3. | Act III
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| 4. | Act IV
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| 5. | Act V
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| 6. | Interlude
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| 7. | Act VI
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Jazz
"Under a Blue Grey Sky" marks a new, more lyrical direction for Jeremiah Cymerman, a clarinetist who Time Out New York describes as "one of downtown's most inventive and resourceful composer-performers". Scored for strings and electronics the music unfolds slower and at a more organic pace than Cymerman's previous work. Seamlessly winding between electronic & acoustic he creates a complex and unique sound full of lush sonorities, jagged melodies, breathtaking solos and unexpected surprises. Joined by Jessica Pavone (viola), Christopher Hoffman (cello), Tom Blancarte (bass) & Olivia De Prato (violin), Jeremiah Cymerman has created a remarkable studio composition that strikes a fascinating balance between the electronic and the acoustic, the mournful and the joyous, the bitter and the sweet.
Under a Blue Grey Sky is an apt title for this album, as it evokes both the moods and the modes Jeremiah Cymerman employs in the seven-part piece that is this release's raison d'etre. Brooklyn-based composer Cymerman's weapon of choice is the clarinet, but the pen -- or at least the computer keyboard -- is perhaps the mightiest tool at his disposal. He put together Under a Blue Grey Sky as a work for string quartet and electronics (providing the latter himself), for an electro-acoustic tour de force that's split up into "Acts" and an interlude, like a play. There's certainly no shortage of drama here, as the constantly shifting dynamics and motifs bring with them evocations of as many emotions as you're likely to find in, say, your average Eugene O'Neill classic. Things start out with rising clouds of droning, ambient swells, but before you know it, there's some melodic motion underway, and what initially seemed like nothing but puffy white cumuli floating across a placid sky suddenly turns dark and threatening. When the string players begin beating their wings in a bestial, flapping fury, an element of discord is introduced, and soon we find ourselves in the middle of a full-scale thunderstorm. Moving through each section, there are breaks in the clouds, as the strings move into calmer territory, but part of what Cymerman seems to be after here is the abnegation of a black-and-white emotional landscape, and the melodic/emotional shifts are a part of that process. After a low-key, ambient electronic interlude, the final act combines dark, almost Wagnerian grandeur with spare, pointillist settings and subtle, somewhat dub-like electronic touches, to close the piece on a properly ambivalent and contemplative note. ~ J. Allen, All Music Guide
Jeremiah Cymerman
Active Decade: '00s
Born: May 04, 1980 in Athens, GA
Genre: Jazz
Styles: Avant-Garde Jazz, Experimental Big Band, Modern Creative, Modern Free
An unorthodox B-flat clarinet player with a D.I.Y. aesthetic and a deconstructionist approach to his instrument that relies heavily on improvisation, Jeremiah Cymerman makes challenging music full of unexpected twist and turns. Born on May 4, 1980, in North Carolina (Athens, GA, has also been listed as his birthplace), Cymerman has made his home for some time in Brooklyn, NY, where he has been an active participant in the city's avant-garde jazz scene, playing with Jessica Pavone, Nate Wooley, Ned Rothenberg, John Zorn, Ikue Mori, and others. Often running his clarinet through outboard analog electronic rigs to mask and change its sound, Cymerman self-released several albums, including 2005's HCM Trio and 2006's Blood Vessel, before going with Solponticello Records for 2007's Big Exploitation, a project that saw Cymerman directing a 13-piece big-band chamber orchestra. In Memory of the Labyrinth System was released by John Zorn's Tzadik Records in 2008.
---Steve Leggett, All Music Guide |
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