A split CD: Trio Caveat, a bass/sax/guitar trio with Chris Welcome, Jonathan Moritz, and James Ilgenfritz; and a solo release from multi-reedist Josh Sinton; two well complemented free jazz CDs in 1!
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Catalog ID: e044
Squidco Product Code: 15308
Packaging: Cardstock foldover
Introspective Athletics recorded by Keith Parker on July 29th, 2010 at The Gallery Recording Studio. Pine Barren recorded on May 28th and June 4th, 2011 at OneEast Recording by Andrew Felluss.
Jonathan Moritz-tenor saxophone, soprano saxophone
Josh Sinton-baritone saxophone, bass clarinet, contrabass clarinet
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1. Clicks, Beeps, Buzzing 3:23
2. Shimmering Hiccups 3:49
3. Introspective Athletics 6:58
4. Fluttering Clicks, Fractured Hisses 3:23
5. Granulated Nuance 5:23
6. FLuttering Beeps, Mumbling 4:09
7. Dramatic Flare 5:36
8. Mellifluous Chirps 2:29
9. Fractured Flakes, Torrent of Frantic 6:49
10. Water For My Father 2:19
11. Deeper In The Woods Than You 1:09
12. The Earth For My Father 3:20
13. My Clarinet Teacher 2:44
14. I'm Still Trying 3:21
15. Dizknee Justice Abounds 3:23
16. Five 3:44
17. Full Of It ... Love, That Is 3:10
18. Starfuckers 2:39
19. Through The Trees I Saw Stone Caves On A Beach 3:55
Related Categories of Interest:
NY Downtown & Jazz/Improv
sample the album:
"I'm always looking to drag the genre of jazz music out of its self-imposed ghetto so doing a split cd helps tie it to punk and indie where I see points of connection.
The first half by Trio Caveat is a bass/sax/guitar recording in the spirit of Oval's O released on Thrill Jockey in 2010. Instead of scratching discs and a computer to make abstract sounds, the musicians use technique and make sounds in the moment with each other. Song titles like 'Clicks, Beeps, Buzzing' and 'Fluttering Clicks, Fractured Hisses' reflect this spirit of acoustic sound manufacturing.
The second recording is a solo effort by Josh Sinton called Pine Barren, which I thought would be a good come down from a chunk of interwoven, thoughtful sound from Trio Caveat. My label is committed to releasing new voices in jazz. Everybody starts somewhere and two recordings is double the jazz for the same price. That leaves the often overlooked listener/music lover. Times are tough - the cheddar does not flow as before, the cake is smaller and doesn't rise as high as it did. I understand that and want to give you what I can give - more creative music for your entertainment dollar."-Steven Walcott, Engine
• Show Bio for James Ilgenfritz
"Bassist and composer James Ilgenfritz has worked in New York's experimental music community for ten years, interacting with visual artists, improvisers, composers, and literary figures. As an improviser James has performed with Anthony Braxton, John Zorn, Elliott Sharp, Anthony Coleman, Jin Hi Kim, Jon Rose, Steve Swell, Nate Wooley, Jeremiah Cymerman, and Brian Chase. As an interpreter of notated music, he has also worked with composers Lukas Ligeti, JG Thirlwell, Annie Gosfield, Pauline Oliveros, Ted Hearne, David T. Little, Karin Rehnqvist, Duane Pitre, Kevin Norton, & Gordon Beeferman. He recently completed a tour of the Midwest and northeast with his jazz quartet MiND GAMeS (with Denman Maroney, Andrew Drury, Angelika Niescier). His debut solo recording 'Compositions (Braxton) 2011' features his distinctive solo bass interpretations of the music of Anthony Braxton, and was called "a considerable achievement of solo instrumentalism and an important demonstration of the possibilities open to the double bass in the early 21st century" by Avant Music News's Dan Barbiero. Current projects include his longstanding Anagram Ensemble (which has morphed from jazz quartet to experimental big band to avant-garde theatrical chamber ensemble), Hypercolor (with Lukas Ligeti and Eyal Maoz), Red Triangle (with Chuck Bettis and Nonoko Yoshida), COLONIC YOUTH (with Dan Blake, Philip White, and Kevin Shea), The Curators (with Joe Hertenstein and Mikko Innanen) and Radiant Tongues (with Jason Ponce). In 2011 James was Artist In Residence at Issue Project Room, where he premiered his opera The Ticket That Exploded (based on the 1962 William S. Burroughs novel of the same name). He is coordinator of the WSB100 festival, New York City's month-long celebration of the life and legacy of William S. Burroughs on the occasion of his 100th birthday. James Ilgenfritz holds degrees from University of Michigan & University of California San Diego, and is on faculty at Brooklyn College Preparatory Center & Brooklyn Conservatory."-James Ilgenfritz Website (https://jamesilgenfritz.com/about/)
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• Show Bio for Chris Welcome
"From sparse chamber-jazz to spastic avant-metal, Chris Welcome lends his unique voice to a variety of ensembles. He has performed withHOT DATE, Apocalypso, Mothguts, Mike Pride's Drummer's Corpse, his own quartet, and many others. As a composer, he has written extensively for his quartet and for various chamber ensembles. His compositions combine space and pointillism with extended techniques, electronics and a loose, Jazz sensibility. Chris Welcome attended Rutgers University where he studied closely with Vic Juris, Stanley Cowell, and Ralph Bowen. He was born in 1980 in New York and grew up in the Chicago area where he studied guitar with Frank Portolese. He currently lives in Brooklyn, NY."-Chris Welcome Website (http://chriswelcome.com/About.html)
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• Show Bio for Jonathan Moritz
"Saxophonist, composer and educator Jonathan Moritz was born in Teheran, Iran in 1977. At an early age he moved to Southern California with his multicultural family of Persian, Jewish, Belgian upbringing and was surrounded by weekly family gatherings rich in dancing and dombak drumming that filled the house with the joy of improvisation. He moved to Belgium, where his paternal family lives, to study at the Royal Conservatory of Brussels ('95-'98) focusing on solidifying an academic foundation of straight ahead jazz. Drawn back to the West Coast, Moritz finished his BFA in Jazz Performance at California Institute of the Arts ('98-2000), combining his knowledge of jazz academia with the creative spirit of the family jams. Here he collaborated with dancers on projects like Noisy Clothes where he met French designer Elodie Blanchard, who became his wife. Jonathan Moritz has lived in Brooklyn with Elodie Blanchard and their son Gaspard since 2000 and has been performing and working professionally throughout New York City since. As an educator he has led workshops on improvisation at the Oakwood High School in Los Angeles, the University of Michigan in Ann Arbor and ISIM at UCSD, has directed an instrumental music program at the Morris H. Weiss School for the past 10 years and graduated from Brooklyn College (â€˜07) with a Master Degree in Music Education. Since 2005, Jonathan and Elodie have curated one of New York's most intimate and welcoming performance spaces, the Prospect Series, a house concert featuring innovative improvisers, Persian stew, a diverse audience and French hospitality.
Jonathan has recorded with musicians among the likes of Eugene Chadbourne, Ben Gerstein, John McLellan, Sam Mickens, Eivind Opsvik, Mike Pride, Jason Stein, Nate Wooley and Jack Wright;He has toured Belgium, the West Coast, Northeast and Southern USA;Played at festivals: KMB Jazz, New Atlantis (Washington D.C.), Undead Jazz and Vision;And venues such as: Issue Project Room, Roulette and The Stone, Zebulon and Barbes.
His first trio album as a leader, Xanadu, was described as"remindful of the Sonny Rollins Village Vanguard Sessions - with just tenor saxophone, bass, and drums, but more pertinently in terms of Moritz's Rollinsesque sound and rhythmic and motivic improvisational development... even though their passionate and thoughtfully mannered music-making borders on the avant-guard, they still are well within the comfort zone of most serious-minded mainstream jazz listeners. Sure to make my top ten for the year." -Russel Arthur Roberts. L.A. Jazz Scene. His most recent release features a trio with bassist Shayna Dulberger and drummer/percussionist Mike Pride.
Jonathan Moritz's Secret Tempo concentrates on modernizing the roles with an artistic focus on harmony, indeterminate rhythms, extended technique and a deep exploration of sound. Loaded with cadenzas, fermatas, solo breaks, counter rhythms, and codas this album is often free sounding but is surprisingly, highly arranged."-Jonathan Moritz Website (http://www.jonathanmoritz.com/index.php/info/biography/)
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• Show Bio for Josh Sinton
"Josh Sinton, a native of Southern New Jersey, born in 1971, is a creative musician who specializes in playing the baritone saxophone and bass clarinet. Growing up, his musical inspirations were his father's record collection, his brothers' record collections and watching his father play stride piano at parties. There wasn't anyone else playing music so to this day Sinton remains mystified that the music bug stuck at all.
He studied composition at the University of Chicago and improvisation at the AACM in the 1990's and then proceeded to carve out a niche for himself in Chicago writing and performing music for dance (with Julia Mayer) and theater (at Steppenwolf Studio and Bailiwick Repertory) as well as performing and studying with local musicians such as Fred Anderson, Ken Vandermark, Ari Brown and Cameron Pfiffner. He would leave Chicago during this time for extended backpacking trips around Europe and India and found a lot of useful information for his later work.
Determined to overcome his technical shortcomings, he gave all this up and moved to Boston in 1999 to resume studies at the New England Conservatory. He spent five years in Boston and met, played and studied with a variety of folks including Steve Lacy, Ran Blake, Dominique Eade, Jerry Bergonzi, Bob Moses, Jim Hobbs and the Either Orchestra. Despite their encouragement, Sinton was overjoyed when he got to leave Boston in 2004.
Since then, Sinton has lived in Brooklyn, New York. He's been fortunate enough to be a long-standing member of Darcy James Argue's Secret Society, the Nate Wooley Quintet, the Andrew D'Angelo DNA Orchestra and Anthony Braxton's Tricentric Orchestra. With these groups he's travelled to several countries in Europe and South America as well as played many festivals (Moers, Newport, BMW, Bergamo, Tampere Jazz Happening, etc.). Sinton is proud of the collaborators he's been able to work with (Kirk Knuffke, Tomas Fujiwara, Chad Taylor, Mary Halvorson, Ingrid Laubrock, Jeremiah Cymerman, Josh Roseman, Harris Eisenstadt, Roswell Rudd, James Fei, Denman Maroney, Han-Earl Park, Greg Tate, Curtis Hasselbring, Mike Pride, Jon Irabagon) but the list of people he still hopes to play with is vast.
As a long-standing member of the Douglass Street Music Collective, Josh Sinton has hosted hundreds of concerts over the past 7 years Brooklyn. His work has been recognized by Downbeat (Critics' and Readers' Poll), Jazz Times (Critics' Poll) and El Intruso (International Critics' Poll) and has been discussed in The Wire, Signal to Noise, Point of Departure, the New York Times and the New York City Jazz Record.
Sinton defines himself as a "creative musician" rather than a jazz musician and has done so since 2011. His reasons for this are varied and personal, but some of them are outlined here and here. Suffice to say, friendly listeners can label him what they will. Sinton will just continue creating sounds with the goal of wasting nobody's time.
Currently Sinton leads the band Ideal Bread as well playing regularly with the Nate Wooley Quintet and the Tricentric Orchestra. He is busy writing new music for himself and his collaborators as well as contributing essays to the websites of Darcy James Argue, Ethan Iverson's Do The Math, Destination: Out and Sound American."-Josh Sinton Website (http://joshsinton.com/about/)
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