An extremely interesting experimental record of free improvisation and electronics from the duo of Dino J.A. Deane and trumpeter Stephanie Richards, whose work with Henry Threadgill and Butch Morris is felt in these pieces where Richards explores resonance in brass and percussion as Deane samples and manipulates her playing live; an inventive and effusive album.
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Label: Relative Pitch
Catalog ID: RPR 1066
Squidco Product Code: 25866
Recorded by Andrew Munsey.
Stephanie Richards-trumpet, percussion
Dino J.A. Deane-sampler
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• Show Bio for Stephanie Richards
"Exploring spaces between jazz and experimental music, trumpeter and composer Stephanie Richards has become a unique voice in the NYC experimental scene, collaborating with improvisational pioneers Henry Threadgill, Butch Morris, John Zorn and Anthony Braxton along with performance artists Mike Kelly, Laurie Anderson and Yoko Ono. Celebrated as an adventurous performer, Stephanies theatrical tendencies often include multi-disciplinary collaborations of sight, sound and movement. An avid collaborator and supporter of new music, Stephanie has premiered new works throughout North America and Europe, while having her own compositions premiered at venues such as Carnegie Hall, the Blue-note and Lincoln Center. Stephanie is a founding member of the Asphalt Orchestra, created the collective Bang On a Can, where she has worked with David Byrne, St. Vincent, Susan Marshall and has also performed alongside Kronos Quartet, The Pixies, Kanye West, A-Trak and Common. Stephanie holds degrees from the Eastman School of Music, McGill University and the California Institute of the Arts and has held residency at Stanford University. A recent addition to the faculty at the University of California, San Diego (UCSD), Stephanie also encourages the performance and commissioning of jazz and new music as Vice-President of the Festival of New Trumpet (FONT). Richards is currently working towards the release of a Tricentric Foundation grant for commissioned scents and sounds."-The Loft (http://theloft.ucsd.edu/index.php/event/1546)
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1. New Moon 4:14
2. Snare 4:24
3. Piano 4:41
4. Half Moon 1:16
5. Gong Pt I 3:34
6. Gong Pt II 1:57
7. Timpani 4:30
8. Full Moon Pt I 5:01
9. Full Moon Pt II 3:04
sample the album:
"With the release of Fullmoon, trumpeter and composer Stephanie Richards joins the ranks of Susana Santos Silva, Franz Hautzinger, Peter Evans and Nate Wooley. This enlightened group of trumpeters have taken the art of the solo to new heights with various combinations of extended technique, microtonality, free improvisation and electronic/acoustic experimentation. Here, Richards touches on almost all of the above with her inventively deployed playing.
A native of Canada-now a Brooklynite-Richards has worked across genres compiling an impressive resume with jazz leaders such as Anthony Braxton, Dave Douglas and Henry Threadgill, indie performers including Laurie Anderson and Yoko Ono and an array of dissimilar artists from Kronos Quartet to The Pixies and Kanye West. She holds degrees from the Eastman School of Music, McGill University and California Institute of the Arts and is an assistant professor at UC San Diego. Electronics player Dino J.A. Deane, whom Richards met through a mutual association with Butch Morris, is on hand with his sampler.
Fullmoon is highly experimental in nature. "New Moon" and "Snare" are strictly sonic experiments where brass and electronic lines blur; the latter of the two falls into a hypnotic repetitive pattern. "Piano" is a series of pseudo-crescendos, repeatedly rising and falling while "Halfmoon" has an ethereal air about it. One of the few pieces that includes a sustained melody (of sorts) is "Fullmoon (Part I)," but here too the emphasis is on sound inventions and Deane's sampler enhances the atmosphere. Richards imaginatively closes the album by adding percussion to "Fullmoon (Part II)," a darker, more affected piece in comparison to the rest of the collection but retaining the kind of fuzzy logic that pervades the program.
Despite the inquisitive environment on Fullmoon, Richards plays it close to the acoustic nature of the trumpet and flugelhorn letting Deane provide the morphed-in electronic layers. There is less in the way of extended technique a la the sputtering, squeaking salvos of a Natsuki Tamura but that is not to say that Richard's work is not a very challenging listen. Fullmoon is original and will undoubtedly whet the appetite for more of Richards' music."-Karl Ackermann, All About Jazz
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