An album of intelligent modern jazz that twists contemporary bop forms through unusual time signatures and highly interactive playing, in the 5th album from composer and bandleader Miles Okazaki, retaining his rhythm section of Anthony Tidd (bass) and Sean Rickman (drums) and here with Matt Mitchell on piano and keys; forward-thinking and embraceable.
Label: Pi Recordings Catalog ID: Pi 84 Squidco Product Code: 28236
Format: CD Condition: New Released: 2019 Country: USA Packaging: Digipack Recorded at The Samurai Hotel, in Astoria, New York on June 13th and 14th, 2019, by Mike Marciano and Max Ross, and on June 29th, 2019, by Max Ross.
"The Sky Below is guitarist Miles OkazakiÔs fifth album of original compositions, and his second album for Pi Recordings. It is a sequel to Trickster, which was widely extolled and landed on many year-end lists of 2017 including Popmatters (Òa mature work for the agesÓ) and the Los Angeles Times (Òimmersive, groove-heavy and ultimately immediateÓ). The album was described by the New York Times as Òtenacious futurism,Ó by The Wall Street Journal as Òa true concept album,Ó and by Pitchfork as Òobviously complex, the work of virtuosi. But the resulting beauty is easy to appreciate.Ó The album received criticsÕ picks in both Downbeat and JazzTimes, who called it Òan intellectually hefty album that feels weightlessÓ and Òa real breakthrough.Ó
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Trickster marked the beginning of a new approach to composition for Okazaki, one that is focused on mythology and storytelling and concerned primarily with narrative flow. He describes this inspiration in the liner notes for Trickster: ÒThe trickster figure is an ancient archetype in human folklore. They are creative in nature, using mischief and magic to disrupt the state of things, breaking taboos and conventions, opening doorways. They exist outside of the mainstream, working from the margins, creating movement across the borders. They cause damage and they heal. They are storytellers and improvisers.Ó
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The Sky Below adds a new chapter to the Trickster story, this time based on the classic form of an oceanic voyage. The music follows the Trickster character as it crosses a boundary (ÒRise and ShineÓ), enters the unknown (ÒDog StarÓ), visits magical islands (ÒAnthemoessaÓ and ÒSeven SistersÓ), is caught in a storm (ÒMonstropolousÓ), abandoned (ÒThe CastawayÓ), and finds a way home (ÒThe LighthouseÓ). The album closes with a microtonal lullaby (ÒTo Dream AgainÓ). Okazaki writes in the liner notes: ÒIf Trickster was the introduction to the characters, the songs on this album are their children, bearing their features but finding their own way. The flight of the Trickster moves across the threshold into the magic world, traverses sea and sky, visits ancient islands, is tested in the tempest, is abandoned, and returns with stories to tell. The titles and themes of the compositions are borrowed from writings about the Sea, the endless source of symbolism involving mystery, creation, and terrible power.Ó (Detailed explanations of the titles can be found at milesokazaki.com/the-sky-below-2019)
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For these songs, Okazaki took each of the compositions from Trickster, reduced them to their basic components, and rewrote new compositions from this genetic material to carry on the story to a new generation with symbolic and sonic continuity. As with much of OkazakiÕs music, the movement is created with a variety of rhythmic structures and illusions with the focus always on groove and rhythmic feel as a storytelling vehicle.
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The material for The Sky Below was developed while touring with a new version of the Trickster band, a quartet of Okazaki on guitar, Matt Mitchell (taking over for Craig Taborn, who appeared on the first album) on piano, Anthony Tidd on electric bass, and Sean Rickman on drums. Okazaki got a sense of MitchellÕs skill set after working for several years on the material for the latterÕs Phalanx Ambassadors (Pi 2019) album. He describes MitchellÕs role in the band: ÒMatt can do certain things on the fly, like generative improvising from cells and transformations, which is important for these tunes. He can play in a way that totally avoids ÒlicksÓ Ð itÕs a very pure sound that gives you a lot of options as a composer. Like the song ÒThe Lighthouse,Ó which is a just a version of a standard, but his approach is oblique enough that it avoids showing all the cards.Ó The team of Anthony Tidd and Sean Rickman form a seamless rhythmic foundation for the band. Okazaki began playing with them in saxophonist Steve ColemanÕs Five Elements. Together, they demonstrate the balancing act of negotiating abstract musical information while maintaining an unstoppable rhythmic drive.
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The album is also informed by an intense period of compositional study that Okazaki undertook in creating WORK, a six-album solo guitar recording of the complete compositions of Thelonious Monk that he released in August 2018. It was the first time the entire songbook had been recorded on a solo instrument, and the project received much critical praise, landing on more than a dozen best-of-2018 lists, including the New York Times, which called it Òa monumental statement of devotion.Ó WBGO described it as Òan act of immersive scholarship and exhaustive scopeÉ a singular achievement,Ó and NPRÕs Fresh Air called it ÒheroicÓ and Òepic.Ó The Sky Below is a direct result of OkazakiÕs extreme exploration of MonkÕs vision: In trying to create the symbolic system of the Trickster recordings, Okazaki went back to the well of the great composer for inspiration for how to create an idiosyncratic sonic world of his own.
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The Sky Below marks the first time that Okazaki has used guitar effects on his own albums since his debut release, MIRROR, in 2006. He is known primarily for possessing a clean acoustic sound played on the Gibson ES-175 Charlie Christian that he has used for the last 25 years. But here, he utilizes five different guitars to continually shift the sonic impression. Recent work with producer/guitarist David Torn on MitchellÕs Phalanx Ambassadors and tours with guitarist Mary HalvorsonÕs quartet playing the music of John Zorn informed the types of effects used, and the quarter tone guitar used on ÒTo Dream AgainÓ was built for work with Amir ElSaffarÕs ÒRivers of SoundÓ project. In order further expand the sound, Okazaki also invented several virtual instruments in Pure Data, a visual computer programming language. Rather than using commercial software, Okazaki painstakingly designed the programs using the same musical concepts as the compositions themselves. He improvised on these instruments to create raw musical material that was then fed through the Prophet-6 with Matt Mitchell manipulating the sounds in real time. This is heard most explicitly on track that begins the second half of the album, ÒMonstropolous.Ó With its carefully-crafted narrative structure and expansive use of studio techniques, The Sky Below evokes the fathomless depths of the sea, both familiar and strange."-Pi Recordings