Two Liebman originals, Albert Ayler's "Ghosts", and a suite that Ellery Eskelin wrote specifically for this quartet with bassist Tony Marino and drummer Jim Black, allowing the band's energy to be altered by the compositional progressions.
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Liner notes by David Liebman and Ellery Eskin.
Catalog ID: Hatology710
Squidco Product Code: 15653
Packaging: Cardstock Gatefold Sleeve 3 panels
Recorded by Sear Sound, NYC on February 18, 2011 by Jon Rosenberg. CD master by Peter Pfister.
David Liebman-tenor saxophone
Ellery Eskelin-tenor saxophone
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1. New Breed 6:21
2. In The Mean Time 11:20
3. Ghosts 8:17
4. No Opening 2:28
5. Low Visibility 4:17
6. Main North 1:22
7. Uncertain Speech 1:43
8. Vertical Prose 2:08
9. Intended Poem 4:08
10. Tin Baroque 4:42
11. ADJusted Scatter 7:35
Related Categories of Interest:
NY Downtown & Jazz/Improv
sample the album:
"Non Sequiturs is a suite written expressly for this group in which the band's musical energy is altered by various compositional progressions (and impediments) much like the flow of a river or stream over varied geographical terrain. The form is episodic, based on elemental balance rather than narrative logic. The composed portions provide ballast against which we as improvisors make our choices elaborating upon (or more often contrasting) the given material, resulting in a compositional and group oriented approach rather than soloistic one (even as there remain some overtly soloistic passages). Often I have provided rhythms upon which we spontaneously choose our own notes."-Ellery Eskelin, from the liner notes
Liner notes by David Liebman and Ellery Eskin.
• Show Bio for Jim Black
Jim Black is at the forefront of a new generation of musicians bringing jazz into the 21st century. In addition to being one of the most influential drummers of our time, he is also the leader of one of the world's most forward-thinking bands, AlasNoAxis, featuring his longtime collaborators Chris Speed, Hilmar Jensson and Skúli Sverrisson. Based on the foundation of his virtuosic but highly personal approach to jazz drumming, Black's aesthetic has expanded to include Balkan rhythms, rock songcraft and laptop soundscapes. Though he is revered worldwide for his limitless technique and futuristic concepts, what many listeners treasure in most Jim Black's work is the relentless feeling of joy and invention he brings to his performances. Jim Black's smiling, kinetic, unpredictable presence has enthralled and inspired audiences worldwide for over twenty-five years.
Since the mid-90's, Black has played a major role in the incorporation of new sounds and techniques into the jazz/creative music context. As a member of the collective group Pachora (with Speed, Sverrisson, and guitarist Brad Shepik) Black was one of the leaders in the study and adaptation of Balkan music into jazz-based music. His advanced techniques abstracted the odd time signatures of the Balkans into a new polyrhythmic language equally informed by modern jazz, drum&bass and the dumbeks of the Balkans. Black has also been an innovator in the use of electronics in improvisation, bridging the gap between electro-acoustic improv and more jazz-based traditions. Today, Black's performances are just as likely to feature his laptop-based electronic textures as his drumming.
Born in 1967, Jim Black grew up in Seattle alongside future colleagues Chris Speed, Andrew D'Angelo and Cuong Vu. After cementing their personal and artistic relationships in Seattle's various youth jazz ensembles, in 1985 they moved to Boston, where Black entered the Berklee School of Music. In Boston, Black, Speed and D'Angelo formed Human Feel with guitarist Kurt Rosenwinkel, which rapidly attracted the attention of the jazz cognoscenti in Boston, New York and beyond.
By 1991, Black and the other members of Human Feel had moved to New York City, where they electrified the Downtown music scene then centered around the Knitting Factory and rapidly became among the city's busiest sidemen. Black's early years in New York saw him take featured roles in some of the most critically acclaimed bands of the time, like Tim Berne's Bloodcount, Ellery Eskelin's trio, and Dave Douglas's Tiny Bell Trio. Thus began fifteen years of near-constant touring and recording, with the above bands as well as artists like Uri Caine, Dave Liebman, Nels Cline, Steve Coleman, Tomasz Stanko, and Laurie Anderson.-Jim Black Website (http://www.jimblack.com/Jim_Black_dotcom/BIO.html)
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