#mat maneri

[jt1674]

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[dustedmagazine]

DoYeon Kim — Wellspring (Tao Forms)

DoYeon Kim works in a space informed by jazz and free improvisation, imbued with vestiges of folk music. She plays a gayageum, a plucked zither, which is not an instrument normally found in these contexts. Joining Kim are violist Mat Maneri, bassist Henry Fraser and drummer Tyshawn Sorey. The musicians are well attuned, bringing out detailed interactions between subsets of the group and the quartet as a whole. The opening track, “The Beats of Distant Thunder,” is a case in point, with Kim and Maneri beginning the proceedings in the lead, only to have Fraser and Sorey lock in a double time groove that spurs the action further forward. Maneri and Fraser trade solos, and Kim plucks a line imitating Sorey’s use of cymbals. The whole group brings the piece to a rollicking conclusion.

Kim vocalizes, with considerable intensity, on “Walking in the Dream.” This encompasses chanting, spoken word, and singing. After a microtonal turn by Maneri, “Sun Shower” picks up speed and Kim keens a powerful melody. “Walking In the Dream,” has a slow buildup, with vocals beginning delicately and moving to a full-throated cry amid terse harmonies played by the gayageum. Maneri joins Kim, spicing up the melodic material with sliding tone interjections. “Whispers Among Dawn” features a duet between Kim and Fraser, dovetailing in imitative fashion. “Diffraction” contains an impressive gayageum solo, followed by Sorey and Kim playing a rambunctious duet of their own.

At nearly sixteen minutes, “Linear System” is the longest piece on the album. It begins softly, with harmonics and repeated notes. A slow build ensues, and by a third of a way into the piece the group plays at full tilt, with multi-stops from Maneri, angular attacks from Kim, and a roaring rhythm section. A brief oasis occurs, only to have more rapid playing, emphasizing the upper register, ensue. A denouement with a general decrescendo leads to a final vocal turn by Kim, whose melismatic singing provides an eloquent close to a fascinating long form piece. “Calculus of Our Souls” is the album’s final piece, and here Kim’s singing and spoken word performance eventually is double-tracked, with a duet chanting in full cry. Maneri follows with a pizzicato solo. Kim returns, building her voice from singing to chanting to a scream. A bracing conclusion, to be sure.

Christian Carey

[musicollage]

Mat Maneri + Evan Parker + Lucian Ban ‎ – Sounding Tears.    2017 : Clean Feed.

! listen @ Apple Music ★ buy me a coffee !

[chaoselph]

Listen to "A Violent Dose of Anything" on TIDAL

Check out this album on TIDAL: "A Violent Dose of Anything" by Ivo Perelman, Matthew Shipp, Mat Maneri https://tidal.com/album/56604090

https://tidal.com/album/56604090

[musicmakesyousmart]

Mat Maneri, Evan Parker, & Lucian Ban - Sounding Tears

Clean Feed

2017

[freethejazzblog]

Free The Jazz #39 [for Steven Joerg]

1 - Michael Thieke / Tim Daisy / Ken Vandermark - At Argyle (from "Triptych", 2017 Relay)

2 - William Parker Quartet - Criminals In The White House (from "Meditation / Resurrection", 2017 Aum Fidelity)

3 - Vijay Iyer / Wadada Leo Smith - All Becomes Alive (from "A Cosmic Rhythm With Each Stroke", 2016 ECM)

4 - Frank Lowe Quintet - Perfection (from "Exotic Heartbreak", 1982 Soul Note)

5 - Anthony Braxton - Comp. 52 (from "Six Compositions: Quartet", 1982 Antilles)

6 - Mat Maneri / Evan Parker / Lucian Ban - Da Da Da (edit) (from "Sounding Tears", 2017 Clean Feed)

7 - Jaimie Branch - Jump Off / Theme 001 (from "Fly Or Die", 2017 International Anthem)

8 - Yosuke Yamashita Trio - Chiasma (from "Chiasma", 1976 MPS)

9 - Freddie Hubbard - Red Clay (from "Red Clay", 1970 CTI)

Listen to a new show each week on 8K, and find previous shows over at Mixcloud.

[jt1674]

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[dustedmagazine]

Brandon Lopez — Nada Sagrada (Relative Pitch)

Nothing sacred. That’s what the title of this fiery feat of improvisation means in English. It’s a fitting moniker, one that reflects the current state of the world and the incredible uncertainty brewing within the global military and economic powerhouse. As free speech, due process and the rule of law disappear, it’s clear that there isn’t much that is sacred anymore. This situation is centuries in the making, however. The eye of Christopher Columbus peering from the CD sleeve is a stark reminder that violence, oppression, and the lust for power are timeless “features” of human society. Before a note of music sounds, Brandon Lopez is making a political statement with Nada Sagrada; it is both loud and clear.

As a bassist, Lopez defies the sacred conventions of his instrument, inventing his own language with it. He plays every inch of the bass, slapping, scraping, hitting and wiping it as if it’s a large drum. He plucks, strums, bows and attacks the massive instrument with flurries of gesticulation. When choosing sparring partners, he looks for likeminded innovators, those who march through unique sonic territory without regard to what’s considered conventional. His septet combines many of these sound warriors into a single molten mind, the epitome of sonic groupthink.

Nada Sagrada began as “the gospel of sans,” a multimedia commission he performed with his septet at the 2023 Vision Festival, accompanied by Gill Arno’s live visual manipulations. Mixed down for pressing onto CD, the 40-minute-long composition takes up space without inducing claustrophobia. There are moments of dense thorniness where the full ensemble unleashes fiery energy, but these are balanced by quieter periods marked by a subset of the players probing each other with a refreshing subtlety.

This is a unique marriage of strings (Lopez’s bass, Mat Maneri’s viola and DoYeon Kim’s gayageum), electronics (Cecilia Lopez providing synthesis and Zeena Parkins playing electric harp), and drums (courtesy of Gerald Cleaver and Tom Rainey). Parkins and Cecilia Lopez conjure otherworldly textures that dance around and weave through deep arco drones and the sprightly plucks of the gayageum. Cleaver and Rainey lock onto each other, bringing about periods of intense polyrhythmic clatter. When the tide turns toward the introspective, the drummers fall back to a low energy orbit, adding spare frictional interjections and supportive patter when appropriate. Collectively, the players invoke their subconscious sensory network to realize this passionate and thought-provoking piece. It’s a call to arms, harkening back to the radical roots of fire music itself.

Bryon Hayes