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Elliott Sharp - 2016 - Tranzience (FLAC, New World 778)

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Torrent File Content (9 files)

Description

Music : Classical : Lossless
      

New
World Records NW 80778CD.

1	Tranzience	28:15
2	Approaching The Arches Of Corti	10:14
3	Homage
Leroy Jenkins	9:35
4	Venus & Jupiter	11:45

Margaret Lancaster: alto flute
Alex
Waterman: cello
Elliott Sharp: composer, electroacoustic guitar
David Shivey: marimba
Jenny Lin: piano
Richard Carrick: piano, conductor
Erin Rodgers, Geoffrey Landman, Kristen
McKeon, Zach Herchen: soprano saxophone
Chris McIntyre: trombone
Stephanie Griffin: viola
Rachel Golub: violin

Track 1 recorded at the Academy of Arts and Letters, in New York City on
December 14th, 2015.
Tracks 2 and 3 recorded on September 1st, 2015. 
Track 4 recorded live at The Kitchen in
New York City, on April 27th, 2012.

The artistic mastery of Elliott Sharp over his long career has taken
primarily three shapes: as an innovative guitarist in blues rock (Terraplane) and avant jazz contexts, as a jazz
composer-bandleader, and as a new music composer. Today's CD, Tranzience (New World Records 80778-2), concentrates on
the latter, with four compositions that show Sharp's innate brilliance in realizing significant form in original and
aurally captivating sound sculptures.
Each work was fashioned for a specific chamber configuration:
"Tranzience" (2013) for the JACK String Quartet, "Approaching the Arches of Corti" (1997) for the
New Thread Quartet of soprano saxophones, "Homage Leroy Jenkins" (2008) for clarinet, violin and piano, and
"Venus & Jupiter" (2012) for the chamber ensemble Either/or with Elliott on electroacoustic guitar.
A
great deal could be said of each work. The liners, written by Anthony Coleman following an interview with Sharp, touch
on some salient aspects of the works presented. The "low throb" is one aspect--from its presence in bodily
rhythms, to its transformations in the form of "dronalities" that morph and become multiple discrete pulses
and/or a single organizing pulse to which everything relates.
Another aspect of his music relates to the
dichotomies and oppositions between pulse and contrasting explosive disruptions and noise, a vividly bipolar set of
tendencies that have played out between and against the Downtown Music minimalist composers and the Downtown avant
improvisational artists. Sharp has tended to be associated with the latter artists yet his music includes both aesthetic
polarities. The new music composition of his mature phase goes beyond improvisations per se but does not feel a
one-to-one affinity with typical compositional trends either.
The influence of Fractal Geometry, the Fibonacci
sequence and other mathematical perspectives inform his music but the decaying industrial dystopia and the idea of
disruption play a balancing act in his music as a whole as well. Elaborate order and expressively intentional chaos join
hands and are part of the same impetus, you might say.
All these considerations and more play themselves out in
varying ways in the four compositions that make up the album. Neither the organizing principals nor their intentional
disruption are the point of this music in the end, it goes without saying. It is the play of musical-intentional
multiplicities that Elliott Sharp's musical inventions adhere to and overcome, and the sheer sonic beauty of the
multiform expressed in personal terms ultimately holds sway with our committed listening beings.
And for that the
performers and Elliott's varied compositional dialogues are in the end irresistibly melded into a music of aural
significance that we enter into readily and willingly. That is to say that anyone who embraces the modern, advanced
zeitgeist should find the music bracing and pleasureably stimulating, intelligent yet cathartic, articulate yet
wholistically driven, brilliant yet refusing to stay put.
In other words, this is music of the modern now by a
composer-artist of great importance to the now in which we live.
Get this! - Grego Applegate Edwards,
classicalmodernmusic.blogspot.com          
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