Berlin pianist Magda Mayas with the Australian duo of accordionist Monika Brooks and clarinetist Laura Altman in understated improvisations that reveal unexpected sonic properties while pushing the boundaries of each player's instruments.
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Catalog ID: split rec 22
Squidco Product Code: 20277
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• Show Bio for Magda Mayas
"Magda Mayas, born 1979, is a pianist living in Berlin. Developing a vocabulary utilizing both the inside as well as the exterior parts of the piano, using preparations and objects, she explores textural, linear and fast moving sound collage.
Alongside the piano, Mayas has recently been performing on a Clavinet/Pianet, an electric piano from the 60s with strings and metal chimes, where she engages with noise and more visceral sound material, equally extending the instrumental sound palette using extended techniques and devices.Mayas performs internationally solo and in collaboration with a large number of musicians and composers.Current projects are "Spill", a duo with drummer Tony Buck, a duo with Christine Abdelnour (sax) and "Great Waitress", a trio with Monika Brooks (acc) and Laura Altman (cl).
She is currently undertaking Phd studies at the University of Gothenburg, Sweden and investigating extended instrumental techniques, spectral music and psychoacoustics in an improvised music context.
Since 2013 she has also been producing radio pieces for ABC Australia and Deutschlandradio Kultur and has released 20 CDS to date.
Magda Mayas has performed and toured in Europe, the USA, Australia, Mexico and Lebanon and collaborated with many leading figures in improvisation and composers such as John Butcher, Andy Moor, Zeena Parkins, Joelle Leandre, Paul Lovens, Ikue Mori, Phill Niblock, Peter Evans, Andrea Neumann and Axel Dörner. She has performed at festivals and exhibitions such as Maerz Musik (2012,2015), Documenta (2012) or the Berlin Biennale ( 2014)."-Magda Mayas Website (https://magdamayas.jimdo.com/bio-cv/)
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1. Breath 7:46
2. Drifting Needles 9:15
3. Lucid 20:24
4. Dusted Birds On Furnished Trees 7:46
5. Grain 3:10
sample the album:
"In January 2009, Berlin-based pianist Magda Mayas played with the Australian duo of accordionist Monika Brooks and clarinetist Laura Altman at Sydney's Now now Festival. At the start of 2011, the three came together—by now under the name Great Waitress—to again play the festival plus some other gigs before recording Lucid at Sydney's Linear recording studio, on February 8th .
Despite the collective group name, this album is most welcome as an addition to Mayas' growing discography. As on her recent releases, the solo Heartland (Another Timbre, 2010) and her duo with saxophonist Christine Abdelnour Sehnaoui, Teeming (Olof Bright, 2010), Mayas demonstrates that she is a complete pianist, extracting an astonishing range of sounds from all parts of the instrument. Away from the keyboard, her playing goes way beyond normal "inside" or "prepared" piano as she plucks, strums or vibrates the strings with wire, strikes or scrapes the frame of the piano creating rich resonances.
In contrast to Mayas, Brooks and Altman are far more restrained and not as prominent. Whatever music the combination of clarinet and accordion conjures up in the imagination, it is highly unlikely it will match that produced here. When it is identifiable amid the range of sounds, the clarinet is rarely to the fore, tending to favor sustained notes that contribute to the overall ambience. The accordion is identifiable less often, producing wheezy rasping sounds rather than any that are characteristic of the instrument; again, the intention seems to be a contribution to the ensemble sound. But the piano repeatedly attracts attention, as Mayas pushes at its boundaries. The contrast between the duo's restraint and the more garrulous piano playing creates a dynamic tension which drives the music.
Of the album's five tracks, the twenty-minute title track is the centerpiece, its prolonged opening section featuring Mayas' striking high notes, offset by higher frequency whines from clarinet, with the two effectively merging into a cohesive whole that slowly evolves. In its middle section, Mayas moves to playing inside the piano, producing resounding lower frequencies that are very dramatic, followed by a passage where all three players interact well, with some of the individual sounds being difficult to attribute to any one instrument. Although the instruments are solely acoustic, some of the tones occasionally mirror electronic tones. The entire album stands up well to repeated playing, but this track alone more so than the rest.
On the evidence of YouTube, Great Waitress is best appreciated when the contributions of all three players can be clearly seen and identified. If they were to achieve a more equal balance between the sounds of the three instruments, then they could unlock more of the group's potential. Until they do so, Lucid is a plenty good enough place to start."-John Eyles, All About Jazz
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