Drummer Ibarra's trio with Cooper-Moore and violinist Charles Burnham blur boundaries in a band of great versatility, taste and collective musicianship.
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Label: Hopscotch Records
Catalog ID: Hop 02
Squidco Product Code: 11920
Packaging: Jewel Tray
Recorded July 18, 1999 at Roulette by Jim Staley. Mixed and mastered by Paul Geluso at NYU and Harvest Works.
Cooper-Moore-piano, harp, diddley-bo
Susie Ibarra-drums, percussion
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1. Radiance - Blessings 3:36
2. Radiance - Dreams 5:10
3. Radiance - Laughter 2:42
4. A Glimpse 3:11
5. Up From The Skies 7:08
6. Half Moon 3:10
7. Jagged Threads 5:27
8. Arboles 5:07
9. Magandang Araw 5:10
10. Dreams Alternate Take 7:07
11. Laughater Alternate Take 2:27
NY Downtown & Jazz/Improv
2009 Top Sellers
sample the album:
"For my money this disc is easily one of the most anticipated of the last few years. The chance to hear Susie Ibarra in a group and setting of completely her own conception seems like it's been a long time in the works. Earlier projects including a duet disc with husband and reed player Assif Tsahar, and dearly departed drummer Denis Charles touched on this direction, but thanks to Radiance the opportunity has finally arrived.
Over the last several years Ibarra has carved out not just a niche in the world of creative improvised percussion, but a veritable canyon and she is easily one of the most in-demand drummers currently swinging the sticks. Her propulsive polyrhythms have powered some of the most celebrated groups born out of the burgeoning New York scene including the David Ware Quartet and William Parker's In Order to Survive Ensemble. Sadly, both of those associations have come to an end, but their demise has allowed Ibarra to focus increasingly on her own projects, among them the explosive trio which makes it's recording debut on this disc. The two players who join her are no strangers to the rigors of creative improvisation, in fact they routinely revel in the demands that come with spontaneous music. Cooper-Moore has more heads than a hydra: instrument builder, composer, choreographer, playwright, poet, pianist -- he is all these personas and much more. Burnham is equally well-versed in his understanding of jazz, as well as a host of other genres and is particularly adept at blurring the preconceived boundaries between musical traditions with his bow strings. He possesses one of the most distinctive sounds on violin and is not the least bit reticent when it comes to coloring and shading his sound with electric amplification. Together they make a flexible and eager team for Ibarra to test her compositions out on.
The opening "Radiance" is a loosely conceived suite comprised of three interlocking sections and covers a great deal of emotive breadth during its dozen or so minutes. From initial lyricism of 'blessings' to the capacious rhythms of 'dreams' and the fleeting humor of 'laughter' the three players weave a luxurious blanket of congruous sounds. Conversely "A Glimpse" is an exercise in sharply contrasting dissonance and clipped phrasings. Perhaps the most unexpected track of all is the creative cover of Jimi Hendrix's "Up From the Skies" where Burnham plugs in and steps heavily on his effects pedal-playfully mirroring the wah-wah utterances that were the guitarist's trademark. Cooper-Moore and Ibarra keep a loosely grooving time behind him on diddley-bo (a one-stringed, amplified guitar) and brushes respectively. "Jagged Threads" centers around Ibarra's prismatic percussion and Cooper-Moore's keys and both players turn in astounding solos. On the rhapsodic "Arboles" Cooper-Moore is again at the core of the action sculpting another reverberating solo across Ibarra's tumultuous, but always disciplined traps set. Burnham also burns brightly on this piece and his bow continually showers his partners with sparks of incandescent melody. Two alternate takes close out the disc, but neither should by any means be considered filler. The second version of "Dreams" is particularly noteworthy because it allows the players even more temporal breadth to flesh out their improvisational ideas than on the piece's first version. Taken as a whole this disc is much more than a promising debut. It also serves as an affirmation of what many followers of Ibarra's career have long known to be true: that she is one of foremost stylists on her instrument and deserves the opportunity to record even more prolifically in the future."-Derek TaylorSee also this related product
• Show Bio for Cooper-Moore
"As a composer, performer, instrument builder/designer, storyteller, teacher, mentor, and organizer, Cooper-Moore [b. August 31, 1946] has been a major, if somewhat behind-the-scenes, catalyst in the world of creative music for over 40 years. As a child prodigy Cooper-Moore played piano in churches near his birthplace in the Piedmont region of the Blue Ridge Mountains of Virginia. His performance roots in the realm of avant jazz music date to the NYC Loft Jazz era in the early/mid-70s. His first fully committed jazz group was formed in 1970 - the collective trio Apogee with David S. Ware and drummer Marc Edwards. Sonny Rollins asked them to open for him at the Village Vanguard in 1973, and they did so with aplomb. A studio recording of this group was made in 1977, and issued as Birth of a Being on hatHut under Ware's name in 1979 (re-mixed and re-issued in expanded form on AUM Fidelity in 2015!). Following an evidently rather trying European tour with Ware, Beaver Harris, and Brian Smith in 1981, Cooper-Moore returned home and completely destroyed his piano, with sledgehammer and fire, in his backyard. He didn't play piano again until some years after, instead focusing his energies from 1981-1985 on developing and implementing curriculum to teach children through music via the Head Start program. Returning to New York in 1985, he spent a great part of his creative time working and performing with theatre and dance productions, largely utilizing his hand-crafted instruments. It was not until the early 90s, when William Parker asked him to join his group In Order To Survive, that Cooper-Moore's pianistic gifts were again regularly featured in the jazz context. In the early 'aughts the group Triptych Myth was his own first regular working jazz group in decades and together they blazed some trails and released two albums: one rich formative, and one exquisite. A destined creative re-union with David S. Ware in the Planetary Unknown quartet, the Digital Primitives trio with Assif Tsahar & Chad Taylor, and continued work with William Parker followed. Cooper-Moore's creative life continues well-strong and unabated into the present day. He will be/was the Lifetime Achievement Honoree at the 22nd iteration of Vision Festval, NYC on May 29, 2017."-Aum Fidelity (http://www.aumfidelity.com/cooper-moore.html)
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