Rudd, Roswell / Jamie Saft / Trevor Dunn / Balazs Pandi
Strength & Power
A New York quartet blending generations and styles in passionate, rich, and deeply layered improvisation from pianist Jamie Saft, trombonist Roswell Rudd, drummer Balazs Pandi, and drummer Trevor Dunn, free jazz drawing on diverse form and intense conversational skills.
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Label: Rarenoise Records
Catalog ID: RNR-CD-060
Squidco Product Code: 21844
Country: Great Britain
Recorded at Pottervile International Sound in New York in July 2014 by Jamie Saft.
Roswell Rudd-composer, trombone
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1. Strength and Power 18:08
2. Cobalt Is a Divine 15:54
3. The Bedroom 5:25
4. Luminescent 9:45
5. Dunn's Falls 7:18
6. Struttin' for Jah Jah 8:09
Related Categories of Interest:
NY Downtown & Jazz/Improv
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sample the album:
"In a remarkable example of uncanny group-think, pianist-keyboardist and RareNoise regular Jamie Saft (Metallic Taste of Blood, Slobber Pup, Plymouth, The New Standard, Red Hill) joins with longtime collaborators Trevor Dunn on bass and Balazs Pandi on drums and master trombonist Roswell Rudd on the astounding, purely improvised Strength&Power.
Recorded live in Saft's home studio near Woodstock, New York, this intergenerational offering features the 44-year-old pianist, 47-year-old bassist, 32-year-old Hungarian drummer and 80-year-old avant garde pioneer blending organically, telepathically on a set of conversational music running the gamut of dynamics and emotions.
As Saft explains, "All the music was completely improvised in the studio. No predetermined compositions at all. No hand signals, no charts: nothing but trust, deepest intuition, and mutual respect."
The key to this highly interactive session, says Rudd, was not chops but rather the participants' highly attuned listening skills. "The really important thing, especially with collective improvisation, is that you're playing off of each other. So the music comes as a result of listening to each other and your response to the other players. I really found myself delving deeply on this occasion because the other musicians were not only putting it out there but they were also responding in depth. When you're lucky enough to be in the company of very proficient musicians who not only can play but also can listen deeply, this is what I think I love more than anything else in the performance of music."
The revered trombonist, who came up playing Dixieland or trad jazz music while attending Yale University in the mid 1950s and later made his mark in the free jazz world through collaborations with Cecil Taylor, Archie Shepp, John Tchicai and longtime collaborator Steve Lacy, is a formidable presence on this RareNoise recording. Whether it's his lyrical playing on the spacious ballad "Luminescent," his unrestrained blowing on a surging "The Bedroom," his conversational plunger work on "Cobalt Is a Divine" and the title track or his early New Orleans tailgate-styled testifying on "Struttin' for Jah Jah," Rudd's trombone resounds with history, humor and humanity.
Dunn provides thick grooves and potent contrapuntal lines throughout (particularly when he is paired in a duet with Rudd on "Dunn's Falls") while Pandi propels the proceedings with kinetic backbeats and swinging momentum.
Saft, performing on his 1966 Steinway Model L piano at his home studio, adds spiky comping, cascading call-and-response lines and some exploration inside the piano.
"This piano has a unique sound," he says. "It's darker than most modern pianos. Sometimes I will use paper and pen if they are handy as tools to modify the acoustic piano, but mostly it's just real time manipulation of the inside of the piano with these two hands."
The piano is a strange and opulent instrument," adds Saft. "It is a physical object which requires adherence to the basic laws of physics. The greatest pianists understand how to harness the power of gravity and understand the internal mechanisms of the instrument and how they relate to the laws of gravity. I always work to use gravity to my advantage as an instrumentalist. With proper understanding of the way the piano and the human body interact, one can constantly push the instrument into new areas while retaining a deep and rich tone. Whether I'm seated at the piano or working inside the piano, I'm still always dealing with laws of physics. The idea being to let gravity do all the work for you. This gives a deep and crisp tone and maximum technical flexibility."
Saft explains that this collaboration with Rudd was partly born out of proximity.
"Roswell and I live five miles or so from each other in Kerhonkson, New York. Roswell and Verna Gillis, his brilliant partner, have recorded a number of times at my studio Potterville International Sound. This is how we initially met. It was clear very quickly that we needed to make music together."
Rudd says that the Strength&Power session is a continuation of "the pursuit of mystery" that he has tirelessly been on throughout his entire career, from his days as a collegiate Dixielander to the present.
"This river that runs through all of my performing and recording from the earliest times, it's essentially what we did over at Jamie's that day. It's a special recording and I look forward to getting back together with the musicians, Balazs, Trevor and Jamie, and doing more, taking it out and playing for audiences somewhere. I'd love to play it for a bunch of people with thirsty ears."
Adds Saft, who has also racked up numerous credits on various John Zorn projects over the years,
"It's a great privilege to make music with a true legend of improvised music such as Roswell. His compositions are deep and vast, his sound is unmistakably brilliant, and most of all he's a truly beautiful human being. The last point is crucial here: when one improvises with such a beautiful person all is possible. Roswell constantly strives to impart his love of sounds to humanity. His positivity and shining vibe make this clear, obvious, and essential." "-RareNoise RecordsAlso available on vinyl LP.
• Show Bio for Roswell Rudd
"Roswell Hopkins Rudd, Jr. (born November 17, 1935) is an American jazz trombonist and composer.
Although skilled in a variety of genres of jazz (including Dixieland, which he performed while in college) and other genres of music, he is known primarily for his work in free and avant-garde jazz. Since 1962 Rudd has worked extensively with saxophonist Archie Shepp.
Rudd was born in Sharon, Connecticut. He attended the Hotchkiss School and graduated from Yale University, where he played with Eli's Chosen Six, a dixieland band of students that Rudd joined in the mid-'50s. The sextet played the boisterous trad jazz style of the day and recorded two albums, including one for Columbia Records. His collaborations with Cecil Taylor, Archie Shepp, John Tchicai, and Steve Lacy grew out of the lessons learned while playing rags and stomps for drunken college kids in Connecticut.
Rudd later taught ethnomusicology at Bard College and the University of Maine. On and off for a period of three decades, he assisted Alan Lomax with his world music song style (Cantometrics) and Global Jukebox projects.
In the 1960s, Rudd participated in free jazz recordings such as the New York Art Quartet; the soundtrack for the 1964 movie New York Eye and Ear Control; the album Communications by the Jazz Composer's Orchestra; and in collaborations with Don Cherry, Larry Coryell, Pharoah Sanders, and Gato Barbieri. Rudd has had lifelong friendships with saxophonists Archie Shepp and Steve Lacy and has performed and recorded the music of Thelonious Monk with Lacy.
Rudd and his producer and partner Verna Gillis went to Mali in 2000 and 2001. His album MALIcool (2001), a cross-cultural collaboration with kora player Toumani Diabaté and other Malian musicians, represented the first time the trombone had been featured in a recording of Malian traditional music.
In 2004, he brought his Trombone Shout Band to perform at the 4th Festival au Désert in Essakane, Tombouctou Region, Mali. In 2005, he extended his reach further, recording an album with the Mongolian Buryat Band, a traditional music group of musicians from Mongolia and Buryatia, entitled Blue Mongol.
Rudd conducts master classes and workshops both in the United States and around the world."-Wikipedia (https://en.wikipedia.org/wiki/Roswell_Rudd)
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• Show Bio for Trevor Dunn
"About Trevor Dunn
1968: born traversing a fine line between hippies and rednecks behind the redwood curtain. first musical affinities: the beach boys, blondie, cheap trick, kiss. first television: ultraman, speedracer, bugs bunny. first films: over the edge, the mouse and his child, snoopy come home, bedknobs & broomsticks. first books: zylpha keatly snyder's witches of worm, the velvet room and the headless cupid.
1977: began studies on clarinet
1981: began studies on electric bass and subsequently quit the clarinet as i realized that girls would now talk to me.
1986: the same year that Lynch's blue velvet and Slayer's reign in blood were released, graduated from EHS. the school's motto: "pigs live in litter, loggers live in pride". started a band called Mr. Bungle. then i got a job at shakey's pizza. began classical technique studies on the contrabass.
1990: graduated from humboldt state university after studying the likes of harry partch, iannis xenakis, alban berg, igor stravinksy, gustav mahler, js bach, you know, all the cats. Also performed Koussevitsky's Concerto for Double Bass with the HSO.
1992: first Mr. Bungle record released on Warner Bros. Moved to SF and two months later embarked on the first MB tour of the US. At the age of 24 I was one of the oldest people in the van. For the next eight years played lots of weddings and restaurants between tours with MB. Learned a lot about music playing with Connah, Goldberg, Schott, Kavee, Amendola, Greenlief, et al.
2000: relocated to Brooklyn, NYC.
Currently playing in various projects under the direction of John Zorn (Nova Quartet, Dreamers, Electric Masada, Aleph Trio). The Nels Cline Singers, Curtis Hasselbring's New Mellow Edwards, Melvins Lite, Endangered Blood, Tomahawk, The Darius Jones Quartet & Erik Friedlander's Bonebridge. I still have plans for my own bands: trio-convulsant, PROOF Readers and MadLove; and I continue to write music for independent films, practice long tones, pine over Daisy Lowe and drink shitty beer in heavy metal saloons."-Trevor Dunn Website (http://www.trevordunn.net/biography.html)
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• Show Bio for Jamie Saft
"Jamie Saft (piano, organs, analog synthesis, bass and guitar, steel guitars) is a native of Queens, New York. Since returning to New York in 1993, Saft's stylistic versatility, multi-instrumentalist capabilities, and production skills have been featured with the Beastie Boys, Bad Brains, the B-52's, Laurie Anderson, Bobby Previte, John Zorn, Dave Douglas, Jerry Granelli, Holly Palmer, Marc Ribot's Los Cubanos Postisos, Elysian Fields, Black Beatle, Antony and the Johnsons, Chocolate Genius, JoJo Mayer's Nerve, E-Z Pour Spout, Cuong Vu, Chris Speed Trio Iffy, Jane Ira Bloom, and the Groove Collective.
Saft is a mainstay of the downtown scene and a member of bands such as The Beta Popes, Whoopie Pie, Swami LatePlate, The Shakers and Bakers, Kalashnikov, Pramrod Sexena, and John Zorn's Electric Masada.
Saft was the pianist for the New York and Paris premiers of John Adams' opera "I Was Looking at the Ceiling and then I Saw the Sky" at Lincoln Center and MC93 Bobingy.
Saft has recently composed a number of original film scores and music fortelevision. Recent films scored include the Oscar nominated film"Murderball", Sundance Grand Jury Prize winner "God Grew Tired Of Us",and currently airing HBO documentary "Dear Talula". Saft has alsocontributed score music for Nickelodeon, MTV, and A&E.."-Jamie Saft Website (http://www.jamiesaft.com/html/bio.html)
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