The 3rd collaboration between guitarist Chris Forsyth and trumpeter Nate Wooley following "The Duchess of Oysterville" and "Chocolate Monk", here recording live in concert in Philadelphia for the two part "Evening Rage", creating rich sonic palettes of unexpected sound.
Label: Rekem Records
Catalog ID: 06
Squidco Product Code: 20166
Country: Great Britain
Recorded live at Archer Space Performance Space at Studio 34, in Philadelphia, Pennsylvania, on March 16th, 2013 by Kinan Faham.
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1. Evening Rage, Part I
1. Evening Rage, Part II
Recordings featuring brass instruments - trumpets, trombones, tubas, other horns
Sound, Noise, &c.
sample the album:
"We've been great fans of The Duchess of Oysterville, the first outing from the duo of Chris Forsyth & Nate Wooley on cd some years ago on Creative Sources (with a follow-up later on Chocolate Monk), and had been looking for an opportunity to work with them if possible.
Their duo is one of those cases that reveal different and unexpected qualities from the participants, and points to a third mind of shorts at play, a meeting that seems to open up the two towards an underexplored territory. With a palette consisting of guitar and trumpet, they make together music that often focuses on an ugly/beautiful scorched earth territory of hissing subtlety.
Third was recorded live in concert on March 16, 2013 in Philadelphia and mastered by Bhob Rainey.
Chris Forsyth is a lauded guitarist and composer whose work often assimilates art-rock textures with vernacular American influences. Long active in underground circles, he's recently released a string of acclaimed records of widescreen guitar rock, including 2014's Intensity Ghost (No Quarter) that have brought his music to the attention of a wider audience. Forsyth first became active in the experimental scene in the 2000s as a founding member of the unclassifiable experimentalists Peeesseye (w/ Fritz Welch & Jaime Fennelly). He's also collaborated with Tetuzi Akiyama, Nate Wooley, Shawn Hansen, Koen Holtkamp, Chris Heenan, and choreographer Miguel Gutierrez. He is a recipient of a 2011 Pew Fellowship in the Arts and resides in Philadelphia.
New York based trumpeter Nate Wooley has performed on over 100 recordings. Increasingly acknowledged internationally, Wooley's specific style is part of a burgeoning revolution in experimental trumpet technique with the likes of improvisers Evan Parker, John Zorn, Anthony Braxton, and Thurston Moore. His own compositions expand conceptions of linguistic based embouchure manipulation and utilize the trumpet to control amplified feedback."-Rekem Records
"As the title already indicates, this is the third release by these two, following releases on Creative Sources and Chocolate Monk. Wooley is perhaps best known from these two (at least here he is) and his trumpet playing has been released on over 100 recordings, having played with Evan Parker, John Zorn, Anthony Braxton, and Thurston Moore. The way he uses his lips in combination with feedback makes him a remarkable improviser. Forsyth is a guitarist of whom I never heard and he was a member of Peeesseye (along Fritz Welch and Jaime Fennelly), as well as improvising alongside with Tetuzi Akiyama, Nate Wooley, Shawn Hansen, Koen Holtkamp, Chris Heenan, and choreographer Miguel Gutierrez. The recordings on this record were made in Philadelphia on March 16, 2013 and contain some pretty intense, yet quiet work. Forsyth plays his guitar carefully, just a few notes every once in a while and with Wooley adding his own fine touches; maybe he's the one that makes most 'noise' here. At times, such as the opening of side B, 'Evening Rage, Part II', it sounds like an electro-acoustic composition. In other places, such as further down the line of this part, it's more like a piece of free noise rock, less any drumming. Forsyth and Wooley take you on a vivid, free trip of sounds, loud, quiet, beautiful and ugly, all seemingly played in one master stroke. It's like a painting: big brushes, small brushes, lots of paint and sometimes no paint at all. Highly abstract of course, but the more you look at it, the more you see. Great record of expertly performed improvisations."-Frans de Waard, Vital Weekly http://www.vitalweekly.net/960.html
• Show Bio for Chris Forsyth
"Guitarist Chris Forsyth's hypnotic instrumentals assimilate art-rock textures with vernacular American influences culled from a lauded career as a composer, improviser, and inveterate collaborator. Long active in the international improv/experimental underground, he's released a series of acclaimed records as a solo artist that demonstrate a resolute engagement in making corporeal/cerebral music that transcends such subterranean realms, reaching instead for a bleeding-edge physicality and lyricism that he deems "cosmic Americana." The fascinating tension manifest in Forsyth's playing between often long-form, rarefied abstraction and percolating rhythms and rock/roots structures animates notable recent works such as his 2011 LP Paranoid Cat on Family Vineyard and Early Astral, a 2012 duo LP with Koen Holtkamp (Mountains) on Blackest Rainbow.
His 2012 Kenzo Deluxe LP/CD on Northern Spy, which features "The First Ten Minutes of Cocksucker Blues," a stunning conceptual soundtrack piece for Robert Frank's banned Rolling Stones documentary film, has been described as "resonant [and] incisive... a cosmic abstraction of the American guitar tradition, reducing blues, rock, folk and improvisation into their spare, hypnotic base elements." Aptly, Forsyth credits a Keith Richards interview in a 1988 issue of Guitar World with introducing his teenage self to the banjo-derived open G tuning, which Forsyth now employs almost exclusively. The Wire has praised him as "an erudite and farsighted guitar stylist, mapping a path that's hip and scholarly in equal measure." Uncut calls him "an emergent master."
Forsyth has toured throughout Europe and the U.S., sharing stages with such like-minded travellers as fellow PoB artist Steve Gunn, Bill Orcutt, Rhys Chatham, Sic Alps, Grouper, Loren Connors, Mind Over Mirrors, PG Six, and Träd Gräs och Stenar, and, from 2002 to 2011, as a member of Peeesseye. He studied with guitarist Richard Lloyd of Television and has also collaborated with diverse artists including Meg Baird, Tetuzi Akiyama, Nate Wooley, and choreographers Miguel Gutierrez and RoseAnne Spradlin. Forsyth was awarded a 2011 Pew Fellowship in the Arts and resides in Philadelphia."-Paradise of Bachelors (http://www.paradiseofbachelors.com/chris-forsyth/)
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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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