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Nate Wooley (trumpet), Chris Corsano (percussion) and Ingebrigt Haker-Flaten (bass) recording in Austin, TX for their first proper release as Icepick, 3 tracks of powerfully creative and downright smoldering modern jazz using exceptional skill and passion.

Icepick (Nate Wooley, Ingebrigt Haker-Flaten & Chris Corsano)

Icepick (Nate Wooley, Ingebrigt Haker-Flaten & Chris Corsano): Amaranth [VINYL + DOWNLOAD CODE] (Astral Spirits)

Label: Astral Spirits    
Released in: USA    

"This record (along with McPhee's Zurich (1979)) is one of the first from Astral Spirits to see a vinyl release instead of their traditional cassette & download format.

As Astral Spirits labelhead Nate Cross and I continued our discussion, he said of this album:

"As you know, the first release on Astral Spirits was Icepick's 'Hexane' tape (which was a live recording that had more of a lo-fi quality to it, but was still incredible). As part of my Astral Spirits label launch, I was able to get Nate Wooley and Chris Corsano down to Austin for a weekend to play a show here in Austin. I also set them up at a studio while they were in town and 'Amaranth' is the result of these studio recordings. They recorded with Ian Rundell (who is in Ghetto Ghouls, a great punk rock band on Monofonus Press) so it definitely has a more punk feel I think - nothing fancy at all used in the recording but it sounds perfect. These guys literally knocked out this entire album (and more) in four hours one afternoon. I really wanted to present this as [one of] my first LPs because it shows the growth of Icepick and what they can do."

So what does the "growth" sound like?

"Rosso Corsa" reveals the whole trio almost immediately. Four minutes in, Wooley drops, followed by Corsano - previously all over his kit - a minute later. Ingebrigt Haker-Flaten's bass is left to pizzicato solo. Wooley returns around the 6:30 mark with a savage, almost drunken moan. Are there voices? It's hard to say. Corsano's kit sounds like shells falling all around; shots: unheard. Wooley's horn becomes more insistent, then aggressive. Fluidity isn't sacrificed but neither is buzzed spit. With two minutes remaining in the track, overblown notes from Wooley phase into a fucking beautiful loungey blues noir followed by a muscular sprint to a reigned in - though not exhausted - finish.

"Fuchsia" smells a bit of brilliance. On a three-song album, it's the palette cleanser, a track of radio-play length sitting directly between the two long-form jams. Wooley puckers up and you can hear the sawdust falling from Haker-Flaten's bow as the opening bars belong to a tandem trying to literally scratch its way into the song. This is a prime example of what was missing on last year's debut. Poor recording and crowd noise provide that awesome live atmosphere but what is sacrificed is this. "Fuchsia" is a four-and-a-half minute masterstroke. By the start of the first minute, Wooley's incredible torturing of a spiritual blues is topped in thrills by Haker-Flaten's mad calligraphy. Imagine the sound Beethoven's pen must have made writing Eroica. Those ink splots and furious curls. It sounds like that. Wooley's trumpet rises though. First to diseased barks and then into something more beautiful before he blows out his air - all of it - and gives the song back to to Haker-Flaten. By song's end, the bassist's tragic arco has watched and heard Wooley's trumpet sputter around the room like a deflating balloon. It lands. I repeat, a masterstroke.

"Rare Rufescent" follows and closes the record. The opening bars belong to Haker-Flaten's solo percussive bass. His notes pop like the soundtrack of a spaghetti western, all saloon doors and dusty boots and revolvers. Corsano enters. At almost the minute mark, Wooley follows with a series of increasingly intense trills. Haker-Flaten keeps slapping the shit out of his instrument. Wooley becomes a tad more soulful before corrupting his phrase with an overblown note and launching into a passage that sounds pure New Orleans.

Voices again?

Wooley introduces a short vamp before deconstructing it in every way possible through fiery and limber lines, themselves sabotaged by the occasional overblown note. Finally, the horn releases to Haker-Flaten's bellowing, motor-like arco. Corsano propels but keeps the focus on Haker-Flaten who continues to move his instrument between a dying man's groan and an ocean liner's throaty roar. Midway through the song, Haker-Flaten's "ship" closes in on land and Wooley blows a scattering of warnings. For the next few minutes, it's a barren carnival of rust: the only sounds, like those of a decaying swingset. From this, Wooley rises with long, solemn notes, buoyed by Haker-Flaten's arco. When Corsano returns, it's on the heels of the trumpet providing scales touched by that twisted New Orleans sound. Corsano begins to coax a tad more momentum and touch more nasty from his kit as Wooley soars above with a gorgeous lament. It's red all over. Jazz was born here. In this "place". In this shade."-Joel Barela, FreeJazz Blog

Includes MP3 download code.

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Related Categories of Interest:

Vinyl Recordings
Improvised Music
Free Improvisation
NY Downtown & Jazz/Improv
Nate Wooley
Trio Recordings
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Get additional information at Free Jazz Blog

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Price: $15.95
In Stock


Shipping Weight: 18.00 units

Quantity in Basket: None

Product Information:

Includes MP3 download code.

Label: Astral Spirits
Catalog ID: MF100/AS018
Squidco Product Code: 20898

Format: LP
Condition: New
Released: 2015
Country: USA
Packaging: LP
Recorded in Austin, Texas on September 20th, 2014 by Ian Rundell.


Nate Wooley-trumpet

Chris Corsano-drums

Ingebrigt Haker-Flaten-bass

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Track Listing:


1. Rosso Corsa 12:15

2. Fuchsia 4:28


1. Rare Rufescent 19:13