Four distinct pieces for solo viola and effects from NY composer/improviser Jessica Pavone, each piece using electronic elements to blur wave motions interacting with minimalist motifs, merging folk elements with avant elements, using extended bowing techniques to blend unlikely matches of acoustics and electronics in unconventional and appealing performance.
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Label: Relative Pitch
Catalog ID: RPR 1082
Squidco Product Code: 27256
Recorded in August, 2018, by Stephe Cooper.
Jessica Pavone-viola, effects, composition
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• Show Bio for Jessica Pavone
"Jessica Pavone (composer, viola, violin, el.bass) has performed in countless improvisation, avant jazz, experimental, folk, soul, and chamber ensembles since moving to NYC in 2000. She currently plays with Normal Love, in a duo with guitarist Mary Halvorson, with Anthony Braxton's ensembles and as a solo violist. As a composer, The Wire magazine praised her "ability to transform a naked tonal gesture into something special," and The New York Times described her music as "distinct and beguiling...its core is steely, and its execution clear."
Pavone's recent works for solo viola and voice stem from years of concentrated long tone practice and an interest in repetition, song form, and sympathetic vibration. She combines her long tone rituals with delay, understated melodies and sparse lyrical content while continuously experimenting with new forms. She is interested in the physicality of performing her somewhat larger-than-comfortable instrument and believes that cultivating physical bodies as a strong container for her thoughts is part of the creative process.
As an instrumentalist, she has personally worked with and interpreted new music by; Aaron Seigel, Andrew Raffo Dewar, Elliott Sharp, Glenn Branca, Henry Threadgill, Leo Smith, Jason Ajemian, Jason Cady, Jeremiah Cymerman, John King, Matana Roberts, Matthew Welch, Tristan Perich, Tyondai Braxton and William Parker; and, has played strings in bands such as Christy and Emily, Pure Horsehair, White Blue Yellow and Clouds, Joy Mega, and The Artificials.
Pavone has toured extensively throughout the U.S., Canada and Europe, performing in venues ranging from international music festivals, universities, and art galleries, to community centers and basements. Her music has premiered in venues in New York City such as, Roulette, Issue Project Room, and The Kitchen, and at the Klangbad Festival in Sheer, Germany. In 2011 she was featured in NPR's "The Mix: 100 Composers Under 40." She has received grants and commissions from the Aaron Copland Recording Fund, the American Music Center, New Music USA for her collaboration with choreographer, Anna Sperber, The Kitchen, MATA, The Jerome Foundation, The Tri-Centric Foundation, Experiments in Opera, and the chamber music collective, Till By Turning."-Jessica Pavone Website (http://www.jessicapavone.com/bio.htm)
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1. Oscillatory Salt Transport 9:43
2. And Maybe In The End 4:31
3. Look Out - Look Out - Look Out 6:08
4. In The Action 6:59
sample the album:
"In the Action is the third solo viola album of New York-based experimental composer-improviser Jessica Pavone following Knuckle Under (Taiga records, 2014) and Silent Spills (Relative Pitch, 2016). She is also known from her singer-songwriter duo with guitarist Mary Halvorson, her work with Anthony Braxton's Tri-Centric Orchestra, the art-rock group JOBS, and her own String Ensemble.
Pavone describes her intimate relationship with the viola as "larger-than comfortableÓ, and indeed, this short album (only 27-minutes long) emphasizes her idiosyncratic aesthetics. You may find yourself drawn into a minimalist universe characterized by its very own senses of time, space - the tangible, physical space between Pavone and the viola - and her belief that cultivating a strong physical body is a core part of her creative process - as well as the space of the recording studio, and the strange but engaging sounds and noises.
Pavone composed four distinct pieces for In the Action, all employing extended bowing techniques, and focusing on in repetition, song form, and sympathetic vibration, with clever usage of effects. The first one "Oscillatory Salt Transport" suggests a series of gentle, resonating waves that somehow bridge between the strict, highly disciplined minimalism of New York and sensual, folk melodies of the British isles. This piece actually refers to the waves of the ocean and how they are essentially pushing salt around the world, as mirroring cycles that occur in nature. On "And Maybe in the End" Pavone morphs a series of chords produced by strumming the viola strings through a chain of effects, suggesting a delicate and quite emotional ripples of electronic haze.
"Look Out - Look Out - Look Out" changes the atmosphere drastically and the acoustic sounds of the viola are processed and mutated so heavily that only repetitive, buzzing patterns of beating industrial noises are left, but as a kind of hypnotic spells from a friendly planet. The last title-piece was performed in a single take and here the acoustic viola of Pavone corresponds with a prepared electronic drone, patiently disciplines the noisy drone into evocative, song-based texture."-Eyal Hareuveni, The Free Jazz Collective
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