The second release from NY trumpeter Peter Evans Quintet with Ron Stabinsky on piano, Tom Blancarte on bass, Sam Pluta on live electronics, and Jim Black on drums, an epic and amazingly sophisticated album based on Frank Herbert's novel of the same name.
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Label: More Is More
Catalog ID: 141
Squidco Product Code: 19708
Recorded at EMPAC in Troy, New York, in March 2013 by Jeff Svatek.
Peter Evans-trumpet, piccolo trumpet
Sam Pluta-live electronics
Ron Stabinsky-piano, prepared piano
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1. 12 (For Evan Parker) 11:13
2. For Gary Rydstrom And Ben Burtt 11:01
3. Make It So 19:20
4. Tresillo 27:10
NY Downtown & Jazz/Improv
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"The long awaited second release from the Peter Evans Quintet. Four new compositions commissioned by the Jerome Foundation's Emerging Artist Grant and recorded at the Experimental Media and Performing Arts Center in Troy, New York. The album is named after a novel by Frank Herbert concerning a mission into space to create an artificial consciousness, a mission which is designed to use the frustrations, failures and imminent destruction of the crew to propel them to new levels of creativity. Destination: Void is an epic, cinematic synthesis of personalities, sci-fi, lengthy compositions, dense improvisation and sound design.
12 (for Evan Parker) is an homage that uses a melodic phrase often found in the saxophonist's music as the foundation for a labyrinth of activity. The piece explores the side of Parker's personality interested in acrostics, word play and puzzles. For Gary Rydstrom and Ben Burtt is a monumental solo vehicle for Sam Pluta, and is dedicated to two of the most innovative sound designers in science fiction and action cinema. Make it So, modeled loosely on the overlapping orbital cycles of celestial bodies, plays out as a series of musical holograms, images appearing, disappearing and reappearing slightly transformed, moving in and out of phase with each other. The final piece, Tresillo, uses it's eponymous rhythmic pattern- found in music all over the world and particularly music which traces its roots to the African diaspora- as a kind of basic musical genome which replicates and transforms itself through the musical drama, featuring every member of the ensemble in turn.
This music was rehearsed and performed extensively from 2011 to 2013 and culminated with a recording residency and concert at the state of the art facility EMPAC in March 2013. Destination: Void is the culmination of the the second chapter of the Peter Evans Quintet, and also serves to introduce a new member, the spectacular Ron Stabinsky on the piano and prepared piano.
The Peter Evans Quintet has been performing in the USA and internationally since 2009. The band has relentlessly focused on new combinations of notated and improvised music in an electro-acoustic setting and has amassed a wide range of original material. The Quintet has been commissioned by the Jerome Foundation/Roulette Emerging Artists Grant, the Donaueschingen Musiktage Festival and recorded at the state-of-the-art EMPAC facility in Troy NY. Their music has been documented on the highly acclaimed "Ghosts" album from 2011, the cinematic, monumental compositions on their recent "Destination: Void" and most recently with a new set of music commissioned as part of Evans' 2014 residency at Issue Project Room in NYC. This new program has already been toured in Europe and includes pieces inspired by Lynn Margulis and a 3 movement homage to Alice Coltrane. The band utilizes a an approach that seeks to explore new levels of coordination, interactivity, self-actualization and expression in the context of group music-making. The ensemble moves fluidly from the most uninhibited unleashing of sonic violence to the most subtle control of texture and form.
Peter Evans has been a member of the New York musical community since 2003, when he moved to the city after graduating Oberlin Conservatory. Evans enjoys working in wide range of areas in modern music and has therefore been working to greatly broaden the expressive potential of his instrument. Current ensembles include the Zebulon trio, the Peter Evans Quintet, the collaborative trio Pulverize the Sound (with Tim Dahl and Mike Pride), and Rocket Science, (with Sam Pluta, Craig Taborn and Evan Parker). Evans has been performing and recording solo trumpet music since 2003 and is widely recognized as a leading voice in that field. He has been commissioned by the International Contemporary Ensemble, Yarn/Wire, the Donaueschingen Musiktage Festival, the Jerome Foundation's Emerging Artist Program and is a 2014 Artist-in-Residence at Issue Project Room in Brooklyn, NY. He has presented and/or performed his music at many major international festivals and has toured his own groups extensively in Europe, Canada and the United States. Evans also performs with both the International Contemporary Ensemble and the Wet Ink Ensemble.
Sam Pluta is a New York City-based composer, laptop improviser, electronics performer, and sound artist. Though his work has a wide breadth, his central focus is on the laptop as a performance instrument capable of sharing the stage with groups ranging from new music ensembles to world-class instrumental improvisers. As a composer of instrumental music, Sam has written works for Wet Ink Ensemble, International Contemporary Ensemble, Yarn/Wire, Timetable Percussion, Mivos Quartet, RIOT Trio, Ensemble Dal Niente, Jessie Marino, Mantra Percussion, TAK, Dave Eggar, and Prism Saxophone Quartet. His compositions range from solo instrumental works to pieces for ensemble with electronics to compositions for large ensemble and orchestra. Sam is the Technical Director for the Wet Ink Ensemble, a group for whom he is a member composer as well as principal electronics performer. Dr Pluta studied composition and electronic music at Columbia University, where he received his DMA in 2012. He received Masters degrees from the University of Birmingham in the UK and the University of Texas at Austin, and completed his undergraduate work at Santa Clara University. His principal teachers include George Lewis, Brad Garton, Tristan Murail, Fabien Levy, Scott Wilson, Jonty Harrison, Russell Pinkston, and Bruce Pennycook.
Ron Stabinsky received his first musical lessons on the electronic organ at the age of five from Michael Hoysock, his grandfather. Since 2000, Ron has been studying the Taubman Approach to piano playing with Edna Golandsky in New York City. He has benefited greatly from additional study of classical repertoire with Ilya Itin. His mentors in the art of free improvisation have included Bill Dixon in Vermont and Joel Futterman in Virginia. His study of jazz has been through the correspondence course work of Charlie Banacos.
A veteran of the DIY New York improvisation, jazz and new music scenes for the past decade, Texan bassist Tom Blancarte has held the low end in a wide variety of avant-garde bands such as the electro-acoustic jazz of the Peter Evans Quintet, the banjo-shred power trio Seabrook Power Plant, an eerie post-apocalyptic duo with wife Louise Dam Eckardt Jensen (The Home of Easy Credit), improv doom tuba trio The Gate and new Danish post-punk improv quartet Sweet Banditry. He has toured extensively throughout Europe and North America, playing venues that range from dingy squatted basements to international festivals. Recently, he has begun to perform improvised solos on the bass as an exciting new area of exploration, started reaquainting himself with the euphonium (his first instrument), as well as starting the Denmark-based record label Marsken Records. He has performed with a wide variety of internationally-recognized musicians, including but not limited to: Peter Evans, Weasel Walter, John Butcher, Peter Brötzmann, Sylvie Courvoisier, Kevin Shea, Ray Anderson, Petras Vysniauskas, Jim Black, Craig Taborn, Ricardo Gallo, Mary Halvorson, Tim Dahl, Mike Pride, Bruce Eisenebeil, Jessica Pavone, Brian Chase, Nate Wooley, Mats Gustafsson, Joel Ryan and Han Bennink.
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 years."-More Is More
At The Squid's Ear!
• 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/)
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• Show Bio for Sam Pluta
"Sam Pluta is a New York City-based composer, laptop improviser, electronics performer, and sound artist. Though his work has a wide breadth, his central focus is on the laptop as a performance instrument capable of sharing the stage with groups ranging from new music ensembles to world-class instrumental improvisers. By creating unique interactions of electronics, instruments, and sonic spaces, Pluta's vibrant musical universe fuses the traditionally separate sound worlds of acoustic instruments and electronics, creating sonic spaces which envelop the audience and resulting in a music focused on visceral interaction of instrumental performers with reactive computerized sound worlds. As a composer of instrumental music, Sam has written works for Wet Ink Ensemble, International Contemporary Ensemble, Yarn/Wire, Timetable Percussion, Mivos Quartet, RIOT Trio, Ensemble Dal Niente, Jessie Marino, Mantra Percussion, TAK, Dave Eggar, and Prism Saxophone Quartet. His compositions range from solo instrumental works to pieces for ensemble with electronics to compositions for large ensemble and orchestra. In addition to acoustic and electro-acoustic works, Pluta has written extensive solo electronic repertoire ranging from multi-channel acousmatic compositions to solo laptop works with video to laptop ensemble compositions for up to 15 players.
As an improviser, Sam has collaborated with some of the finest creative musicians in the world, including Peter Evans, Evan Parker, Ikue Mori, Craig Taborn, Jim Black, Anne La Berge, and George Lewis. Sam is a member of multiple improvisation-based ensembles, the jazz influenced Peter Evans Quintet, the free improvisation-based Rocket Science (with Evan Parker, Craig Taborn and Peter Evans), the analog synth and laptop duo exclusiveOr (with Jeff Snyder), his longstanding duo with Peter Evans, and the New York City-based power group Sonic Overload (with Jim Altieri, Dan Peck, Tom Blancarte, Peter Evans, and Jeff Snyder). Sam has also performed with the Evan Parker Electro-Acoustic Ensemble. With these various groups he has toured Europe and America and performed at major festivals and venues, such as the Lucerne Festival in Switzerland, the Moers and Donaueshingen Festivals in Germany, Bimhuis in Amsterdam, and The Vortex in London. Sam is the Technical Director for the Wet Ink Ensemble, a group for whom he is a member composer as well as principal electronics performer. As a performer of chamber music with Wet Ink and other groups, in addition to his own works, Sam has performed and premiered works by Peter Ablinger, Karlheinz Stockhausen, Katharina Rosenberger, George Lewis, Ben Hackbarth, Alvin Lucier, Chiyoko Szlavnics, Alex Mincek, Kate Soper, and Eric Wubbels among others.
Dr Pluta studied composition and electronic music at Columbia University, where he received his DMA in 2012. He received Masters degrees from the University of Birmingham in the UK and the University of Texas at Austin, and completed his undergraduate work at Santa Clara University. His principal teachers include George Lewis, Brad Garton, Tristan Murail, Fabien Levy, Scott Wilson, Jonty Harrison, Russell Pinkston, Lynn Shurtleff, and Bruce Pennycook. A dedicated pedagogue, Sam teaches Composing with Sound and Technology and Improvisation at Bennington College. From 2011-15 he directed the Electronic Music Studio at Manhattan School of Music, and has taught Music Humanities and The History of Sound Art at Columbia University. For the past 15 years he has taught composition, musicianship, electronic music, and an assortment of specialty courses at the Walden School, where he also serves as Director of Electronic Music and Academic Dean."-Sam Pluta Website (http://www.sampluta.com/)
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• Show Bio for Ron Stabinsky
"Ron Stabinsky recently released his debut album, Free for One, the culmination of more than a decade of evolving his improvised solo language. In addition to continuing to pursue his ongoing interest in solo piano improvisation, he enjoys working on music in a stylistically diverse array of situations throughout the United States and Europe with many other musicians and ensembles, including free-improvising saxophonist Jack Wright, bass trombone virtuoso David Taylor, Meat Puppets bassist Cris Kirkwood, and NEA Jazz Master David Liebman. Recent festival appearances include Newport Jazz Festival, North Sea Jazz Festival (Netherlands), Moers Festival (Germany), Jazzfestival Saalfelden (Austria), Outreach Festival (Austria), and Jazz and More Festival Sibiu (Romania). He is currently a regular member of the band Mostly Other People Do the Killing, the new music ensemble Relâche, the Charles Evans Quartet, and the Peter Evans Quintet."-Ron Stabinsky 9/18/2017
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• 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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