Trumpeter Evan's Quartet with Ricardo Gallo, Tom Blancarte and Kevin Shea at the 2009 Jazz em Agosto Festival brilliantly restructuring jazz standards into collective compositions.
Squidco Memorial Day 2017 Sale!
Buy 1 or more item(s) from the sale, Take 8.00% Off
(checkout price: $13.75)
Buy 3 or more item(s) from the sale, Take 15.00% Off
(checkout price: $12.71)
Shipping Weight: 2.00 units
Quantity in Basket: None
Log In to use our Wish List
Label: Clean Feed
Catalog ID: CF 173
Squidco Product Code: 13038
Packaging: Cardboard Gatefold 3 Panels with magnetic clasp
Recorded August 8 at the Jazz em Agosto Festival by Luis Delgado, Mixed by Keith Parker at The Gallery Recording Studio, Brooklyn, NY.
Highlight an artist name or instrument above
and click here to Search
1. Introduction 2:37
2. All 11:36
3. Interlude 1 1:51
4. Latticework 10:09
5. Palimpsest 5:42
6. Interlude 2 4:58
7. What 12:41
8. Interlude 3 5:03
9. For ICP 8:12
NY Downtown & Jazz/Improv
Staff Picks & Recommended Items
Recordings featuring brass instruments - trumpets, trombones, tubas, other horns
Squidco's Clean Feed $12.00 Sale
sample the album:
"Recorded at the Jazz em Agosto Festival in 2009, Live in Lisbon proposes another way to deal with the old American standards. Instead of passively reproducing the song formats, trumpeter extraordinaire Peter Evans uses its compositional elements as "found materials". And yes, there's some analogies with the visual artist Marcel Duchamp's "ready mades". Those elements can be the tempos, the harmonies, the melodic phrases, but taken apart, deconstructed and gathered in different patterns, in order to enhance improvisation and to liberate choices during the performative process.
For instance, "All The Things You Are" by Jerome Kern, "Lush Life" by Billy Strayhorn", "Duke Ellington's Sound of Love" by Charles Mingus, and "What Is This Thing Called Love" by Cole Porter are subjected to this procedure. In consequence, each piece functions like a puzzle being assembled moment by moment - you can recognize the inner materials or not, but they're always present in some form. This is not an attempt to turn simple things complex, but to achieve a looser approach in the context of the centuries old equation between written (by historic masters) and spontaneous collective composition (with contributions from Ricardo Gallo, Tom Blancarte, and Kevin Shea). In his liner notes, Evans says it all: "It is great fun to see what elements of surprise we can squeeze out of something that, on its surface, may seem very familiar." In truth, simplicity is the name of the game here played, and it emerges in various levels, from the most intriguing to the unexpected."-Clean Feed
• Show Bio for Peter Evans
"Peter Evans is a trumpet player, and improvisor/composer based in New York City since 2003. Evans is part of a broad, hybridized scene of musical experimentation and his work cuts across a wide range of modern musical practices and traditions. Peter is committed to the simultaneously self-determining and collaborative nature of musical improvisation as a compositional tool, and works with an ever-expanding group of musicians and composers in the creation of new music. His primary groups as a leader are the Peter Evans Quintet and the Zebulon trio. In addition, Evans has been performing and recording solo trumpet music since 2002 and is widely recognized as a leading voice in the field, having released several recordings over the past decade. He is a member of the cooperative groups Pulverize the Sound (with Mike Pride and Tim Dahl) and Rocket Science (with Evan Parker, Craig Taborn and Sam Pluta) and is constantly experimenting and forming new configurations with like minded players. As a composer, he has been commissioned by the International Contemporary Ensemble (ICE), Yarn/Wire, the Donaueschingen Musiktage Festival, the Jerome Foundation's Emerging Artist Program, and the Doris Duke Foundation for the 2015 Newport Jazz Festival. Evans has presented and/or performed his works at major festivals worldwide and tours his own groups extensively. He has worked with some of the leading figures in new music: John Zorn, Kassa Overall, Jim Black, Weasel Walter, Levy Lorenzo, Nate Wooley, Steve Schick, Mary Halvorson, Joe McPhee, George Lewis, and performs with both ICE and the Wet Ink Ensemble. He has been releasing recordings on his own label, More is More, since 2011."-Peter Evans Website (http://pevans.squarespace.com/about/)
^ Hide Bio for Peter Evans
• Show Bio for Kevin Shea
"Kevin Shea is valued as being a vital and original artist in the contemporary music scene. Shea's originality is manifested not only by his personal approach to his instrument, but also throughout his constant search for new musical horizons unifying all the bands he has been involved in despite the parameters set for musicians by genre definition, or by historical icons.
The plurality of rigorous artistic aspirations and creative engagement that distinguish the discography of Kevin Shea are not the product of chance or merely taking advantage of opportunities -- but the result of labor, strong convictions, and a strong conceptual support -- a deliberate search for transitional territories away from the dogmas of boring and unnecessary conventions.
Shea's artistic interests are rooted in reevaluating what a band/music, musician/performer, artist and audience can and should be. Splitting the difference between passion and song, Shea plays multi-dimensional utopian sound in which opposing musical forces integrate to form a new sustainable recipe for sound and social implication. Remaining devoted to his belief that the application of sonic diversity is paramount to the appreciation of human diversity, Shea's ultimate goal has been to wed disparate ideologies through proficiency, controversy, inquiry, and compassion -- an approach perpetuating audiences, listeners, and sometimes fellow band members, to face, question, define, and attempt to defend their own level of tolerance and compassion head-on, no-holds-barred.
Through this carefully planned direct method in the round, Shea's sonic investigations emphatically traverse the mobius strip highway of refurbished canticles, perpetually climaxing between Sadean semelparity and Platonic resurrection. At the heart of Shea's dialectical core, unabashed artifacts of rhythmic iconoclasm conjoin with anthemic melody gestures and modern memory loss to create a vital force that gives us bittersweet contemplation and empathy.
As a youth, Shea moved throughout the States many times, transforming any of his formal expectations into a joyous foundation of constant flux. He learned that intuition and customs had to be constantly re-evaluated and negotiated rather than held as sacred. This process of questioning is central to Shea's music. To him, sound is a result of a broader process rather than formulas tied to notions of predictable emotional response. Shea sees sound and music, not as a prize, but a simple aspect of banal daily life.
Kevin Shea has over 25 years of experience as a professional drummer, composer and performer. He has recorded on over 120 albums in a mish-mash of contexts and has performed in over 40 countries. His training started in public elementary school and continued steadily through his college years at Berklee College of Music."-Kevin Shea website (http://www.kevinshea.info/)
^ Hide Bio for Kevin Shea
Search for other titles on the Clean Feed label.