Released along with "Canada Day Octet", this new release presents drummer Eisenstadt's quintet with Nate Wooley (trumpet), Matt Bauder (sax), Chris Dingman (vibes) and Garth Stevenson (bass) in an album of great tunes and spirited playing.
Catalog ID: SGL 1596-2
Squidco Product Code: 16410
Packaging: Cardstock 3 page foldover
Recorded by Sean Kelly at Water Music, Hoboken, NJ on March 7th, 2012.
Harris Eisenstadt-drums, composition
Matt Bauder-tenor saxophone
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1. Slow and Steady 3:50
2. Settled 8:23
3. A Whole New Amount of Interactivity 8:25
4. The Magician of Lublin 8:24
5. Song for Sara 6:37
6. Nosey Parker 6:58
7. Shuttle off this Mortal Coil 7:34
8. King of the Kutiriba 4:46
Related Categories of Interest:
NY Downtown & Jazz/Improv
Staff Picks & Recommended Items
sample the album:
"Canada Day has been Eisenstadt's primary vehicle for integrating his divergent interests since 2007, often yielding a rich fusion of inside and outside concepts that remain palatable to mainstream sensibilities. A masterful tunesmith with a keen ear for intriguing compositional gambits, Eisenstadt infuses his writing for the group with a strong melodic undercurrent, relying on his bandmates to expand beyond notated material into vanguard territory, balancing conventional song-craft with unfettered abstraction." - Troy Collins, reviewing Canada Day II on Point of Departure
Canada Day, a band which now has two Canadian members (Garth Stevenson and Harris), returns with another record of great tunes and spirited playing, paired with the first release by Harris' Canada Day Octet on 482 Music. Incidentally, Harris is also the drummer on Songlines' other release this month, clarinetist François Houle's new international band (Francois Houle 5 + 1, Genera). Taken together, these three records show a composer, drummer and bandleader who really loves music in all its diversity and infuses that energy and a truly distinctive voice into everything he does.
And his band members respond in kind. Check out for example Nate Wooley's remarkable Harmon mute solo on "The Magician of Lublin," where he unexpectedly inserts lone open notes for contrast and punctuation. Or Matt Bauder's solo on "Nosey Parker," which seems to assay several vintage sax styles with both real reverence and a sly sort of parodistic humor. Throughout the record there are many instances of subtle surprise, crafty interplay and underlying complexities of tone that make for a richer listening experience. No doubt this finely-tuned level of engagement is partly the result of the band living with these pieces for a year and coming directly off the road to record. Says Harris: "I'm going for something visceral for sure, and not overly solemn or serious.... I do think that the fluidity of solo approaches comes from playing the pieces enough to not have to think about what might work. Most importantly, I want the musicians to be able to run with their instincts and be themselves no matter what."
The record's overall cohesiveness, its integrating jazz drive, is certainly a result of Harris' composing and approach to band-leading: "At the beginning of a book when we're learning the songs, I try not to fix too much until we hear how different parts of pieces fit and sound together. We sort of build road maps through trial and error. I of course ask for people's input and welcome it, as they're each composer/bandleaders with strong ideas. Having said that I do generally fix things myself. I think it helps when a bandleader is decisive about road maps, solo orders, set lists, assigning cues, etc."
Some thoughts on how he fits into the jazz drumming tradition:
• Show Bio for Harris Eisenstadt
"One of only a handful of drummers equally well known for his work as a composer, Brooklyn-based Harris Eisenstadt (b. Toronto, 1975) is among the most individual and prolific musicians of his generation. His resume includes studies with some of the most respected names in jazz and improvised music, West African and Afro-Cuban drumming, and performance credits in jazz, film, theater, poetry, dance, contemporary concert music and opera.
Eisenstadt has performed all over the globe, received grants from organizations such as Meet The Composer, American Composers Forum, Canada Council for the Arts, and appeared on more than 60 recordings since 2000, including twenty as a leader. Recordings of his compositions often appear on the Songlines, Clean Feed, No Business, and 482 Music labels, and are consistently included on critics' best-of lists. Recent honors: Rising Star Percussion Percussion, Arranger, and Composer categories of the Downbeat international critics poll; Best Album, Drummer, Composer categories of the El Intruso international critics poll.
His first work for orchestra, Palimpsest, was premiered by the American Composers Orchestra, as part of the Jazz Composers Orchestra Institute at Miller Theater, Columbia University (2011). Eisenstadt's second orchestral work, Four Songs, commissioned by the Brooklyn Conservatory Community Orchestra, was premiered at the Brooklyn Museum (2013). His first string quartet, Whatever Will Happen, That Will Also Be, was premiered as part of Eisenstadt's twelve-set residency at The Stone in NYC (2015). As a writer and radio producer, he has contributed to National Public Radio and AfroPop Worldwide. Eisenstadt is also an active AfroCuban batá drummer in New York and a longtime researcher in African and diaspora vernacular traditions. He has travelled to West Africa twice (Gambia, Senegal) to research Mandinka and Wolof music, and to Cuba twice (Matanzas, Havana) to research Afro-Cuban music."-Harris Eisenstadt Website (http://www.harriseisenstadt.com/bio/)
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• Show Bio for Nate Wooley
"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.
Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.
Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".
In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.
Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."-Nate Wooley Website (http://natewooley.com/about)
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