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Nobject (Martin Kuchen / Rafal Mazur / Vasco Trilla): X-Rayed [2 CDs] (Listen! Foundation (Fundacja Sluchaj!))

Bringing separate collaborations together as a trio, Swedish saxophonist Martin Kuchen (Angles), who has worked separately with Catalan drummer Vascto Trilli and Polish guitarist Rafal Mazur, come together as Nobject, recording at Lodz-Art Inkubator during the sixth Musica Privata festival in Lodz, Poland, for 2 sets of fully free, sinuous and assertive improvisation.
 

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product information:


UPC: 5905279364462

Label: Listen! Foundation (Fundacja Sluchaj!)
Catalog ID: FSR 08|2019
Squidco Product Code: 27792

Format: 2CDs
Condition: New
Released: 2019
Country: Poland
Packaging: Cardboard Gatefold
Recorded at Lodz-Art Inkubator, Lodz, Poland, on December 7th, 2018, by Rafal Drewniany.


Personnel:

Martin Kuchen-sopranino saxophone, tenor saxophone

Rafal Mazur-acoustic bass guitar

Vasco Trilla-drums

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Artist Biographies:

"Born 1966; saxophones. Martin Küchen has been active on the Swedish free improvised/free jazz scene since the mid-1990s. He has composed for larger groups, participated in dance projects, performed with different poets and created the music for experimental films. He now collaborates with improvisors all over Europe and USA/Canada. His current collaborations include:

Angles - a new trio with Ingebrigt Håker- Flaten, doublebass, Kjell Nordeson, drums and Martin Küchen, saxophones. Exploding Customer - a free jazz quartet with Tomas Hallonsten trumpet, Benjamin Quigley double bass and Kjell Nordeson drums, which plays mainly original compositions. Sound of Mucus - a trio with the stringchordist Herman Müntzing and Andreas Axelsson, percussion. Unsolicited Music Ensemble - a trio with Tony Wren, double bass and Raymond Strid, percussion. a duo with guitarist David Stackenås. UNSK: Birgit Ulher, Martin Küchen, lise-Lott Norelius and Raymond Strid. Looper - a trio with Greek cello player Nikos Veliotis and Norwegian percussionist Ingar Zach."

-European Free Improv Site (http://www.efi.group.shef.ac.uk/musician/mkuchen.html)
8/21/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Rafal Mazur's involvement with music began in his youth with violoncello studies in Krakow. He switched to bass guitar in the late 1980's. Since 2000 he has played an acoustic bass guitar built to his own specifications by luthier Jerzy Wysocki. He has developed an advanced and individual approach to his instrument, and to improvisation in general, in which sonority, extended technique and gesture combine effortlessly in performance. He has taken an important role in Kraków to support young artists and improvised music. A founder of the ImproArt studio of improvisation, he has performed jazz and improvised music in clubs and festivals across Poland and Europe, and in China, South Korea and Israel. In recent years he has collaborated with Lisa Ullen, Frederic Blondy, Charlotta Hug, Raymond Strid, Keir Neuringer, Zsolt Sores and others. His current focus is the band "Ensemble 56" and "Mazur/Neuringer Duo". He is an organizer of the Laboratory of Intuition, a series of spontaneous art presentations in Kraków. Mazur's main field of interest and activity is collective and solo free/spontaneous improvisation. In his practice as an improvising musician and on his way to mastery/artistry he studys Chinese philosophy (Jagiellonian University). He regards Taoism as a strong base for the enrichment of the improviser's attitude, and to this end he practices the Taoist's martial art TaiJi Quan Chen. For Mazur, following the masters of Chinese philosophy and martial arts is crucial in the development of a state of mind prepared for the unexpected situations an improviser encounters in the act of collective free improvisation. During the Polish Sound Art in China tour in 2006, Mazur presented lectures in NiHiLo Gallery in Foshan and Zendai Art Museum in Shanghai, taking the opportunity to meet Chinese improvisers and discuss and compare his approaches to improvisation, Taoism and TaiJi. Mazur's most recent work is the first album of solo acoustic bass guitar free improvisation: 'Sonor Forms'. Released by independent label DTS Records in Krakow on its Transidiomatic series, the disc is the result of investigation into the practice of solo free improvisation."

-Rafal Mazur Website (http://www.rafalmazur.eu/1bio.html)
8/21/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Born in Barcelona, Vasco Trilla started playing drums at the age of nineteen. His first influences were progressive rock and metal, but gradually he developed an interest in a variety of different genres such as jazz, Indian music, African music, klezmer, free improvisation, etc.

Since then he has collaborated, toured and recorded with many different bands and projects such as Boi Akih (an ethno-jazz band from the Netherlands), Planeta Imaginario (progressive jazz-rock) October Equus (avant-rock), The Oddvisers (pop-avant), Fine! (indie pop-rock), Mundo Flotante (ethno-jazz-rock), Kaulakau/Cobla Sant Jordi (an ethno-jazz Catalan orchestra), Filthy Habits Ensemble (a jazz octet playing Zappa's and Stravinsky's repertoire), Cows On Trees (a jazz-improv quartet with Susana Santos Silva and Kaja Draksler), Balimonster (an impro-ethno duo with Angel Ontalva), Yedo Gibson-Vasco Trilla duo (an improv sax & drums duo), Outerzone (jazz-core), Reptilian Mambo (mambo free rock), Liba's Traum, etc.

In the last years he has been playing and experimenting on the free-improv scene, applying extended techniques to the kit and treating it as a textural-melodic instrument. Blowing, bowing, scratching, playing with hands and all kinds of objects, all is valid to expand the vocabulary of this innovative percussionist. He played with improvisers, such as: Lotte Anker, Marshall Allen, Yedo Gibson, Susana Santos Silva, Kaja Draksler, Jasper Stadhouders, Mikloaj Trzaska, Martin Kuchen, Richard Barrett, Jorma Tapio, Christher Bothen, Marc Stucki, Luc Ex. etc...

He has released around 30 CDs in labels such as Cuneiform Records (USA), Altrock Records (Italy), Leo Records (UK) Discordian Records (Barcelona, Spain), Audition Records (Mexico), El Negocito Records (Belgium), Jacc Records (Portugal), Fmr Records (UK)."

-Vasco Trilla Website (http://vascotrilla.com/)
8/21/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


CD1



1. When Prophecy Fails 7:14

2. Willfull Blindness 10:56

3. Malevolent Ghosts 21:23

CD2



1. The Flood That Never Came 30:31
sample the album:








descriptions, reviews, &c.

"The new atomic working band from Martin Kuchen saxophones, Rafal Mazur - acoustic bass guitar and Vasco Trilla on drums. Recorded on studio and concert session at the end of December 2018 during VI edition of Musica Privata festival i Lodz."-Fundacja Sluchaj



"The cooperation of the Swedish saxophonist Martin Küchen and the Catalan drummer Vasco Trilli is undoubtedly becoming closer. Just a few weeks after the excellent Phicus + Martin Küchen Sumpflegende album, we get the Nobject trio in which both of these musicians are supported by Rafał Mazur, who traditionally plays an acoustic bass guitar. For the image of the entire cooperation of the above-mentioned artists, it should be mentioned that last autumn the album Baza was released, documenting a duo meeting of ... Küchen and Mazur.

Today, however, we're interested in the Nobject double disc, titled very energetically X-Rayed, and published by the Listen! Foundation. It contains recordings from the sixth edition of the Musica Privata festival in Łódź, which took place last fall. The first disk (less than 40 minutes) contains three free improvisations, recorded ... without the participation of the audience, while the second disk - a 30-minute performance with the participation of that audience. We look inside because it's absolutely worth it!

When prophecy fails. Quiet murmurs from the tube of the tenor saxophone, the dusk of the snare glaze, the fleshiness of the bass guitar strings, although devoid of fresh current, but extremely energetic - the opening situation seems to be fully recognized. A sensual intro woven from silence spots - a droplet bowler, agile guitar and slim percussion with a spinning wheel. Narration sewn with great effort, but without gnashing teeth, rather in a sense of great freedom rather than excessive buttocking. In 5 minutes, the musicians already have power on their side. They pull up a dense flow of warm air, not forgetting the low sound parts. For the opening finale - gallop in all its glory.

Willfull blindness. A bass intro just after the umbrella umbrella, next to a sad sopranino that throws smears Swaying-pressing narrative with repetition sewn under the skin. After 150 seconds, Rafał turns on the massive drive, Vasco jumps after him, like a frightened tomcat, and Martin step by step bursts his tale uphill. After 4 minutes, instinctive slowdown, resistance, sonoristics and preparations. The army of small worms on the snare gets electricity, the saxophone and bass enter into a modest imitation - how wonderfully everything is arranged in dramatic terms. After 9 minutes of turbocharging, Mazur again gives cheers, creating a truly epic ending for the colleagues.

Malevolent ghosts. The tenor returns and hums like a scorched fan, the strings snort, Vasco resonates from the beyond. The narrative is built by an overactive bass player who does nothing but wonders on the neck, the saxophone babbles on the side, the drums play the ambient network. A massive, but slow tale, which thickens with excess heat, and after a while spills over a wide stream, after all, no one is in a hurry. 8 minutes - the musicians seem to be looking for faults and are very effective in it. The next step is a short but sensual solo exhibition of the drummer with metal objects dancing on the snare drum. When Martin and Rafał return from a quick cigarette, the trio takes on power, and the filigree sopranino seems to be leading the chic. Expression loops, the musicians wind up each other, like watch springs, and the machine wades for a golden fleece. In the middle of 14 minutes sudden stopping! Cleaning the saxophone nozzles, polishing strings and flat metal surfaces. Again, a great change is given by Mazur, who knows if he doesn't play his life album here (of course, till now!). After 17 minutes - one blink of an eye is enough for the trio to lose themselves in gallop. The flame is extinguished on a red-hot guitar neck.

The flood that never came. The sound of air drops in the tube, short runs on the neck, disc resonance - the musicians are eagerly building the first bend of a new story. The narrative winds compactly, divided roles, emotions on the rising curve. At the entrance to the proper narrative, a pinch of oneirism and dry ambient. No rush. But after 5 minutes the first explosion of emotions from bass & drums. Comment sopranino after several dozen seconds - in a point! 8 minutes - dense flow, action chasing reaction, musicians are getting body to body, direction - power eruption. After a few minutes, they suppress emotions and enter into an intriguing mac ... with silence. They feel good about her! All three fall into resonance almost simultaneously, as if a strong magnetic field suddenly arose under their feet. Mutual imitations in the glow of oneirism - the saxophone existentially screams, the bass thunders, the drums become one big plate. Bells, worms, vibrators and bow on the neck - the specialty of the factory! Vasco adds to the fire, sounds like a great post-symphony orchestra. The slender sounds of the saxophone and bass emphasize the quality of the Catalan's creation. The final part of the 30-minute set is built step by step without rushing. The saxophone takes the dramatic core on its shoulders, then the bass strongly supports it. After 26 minutes, all cards are already revealed - a gallop for eternal glory and delight of the reviewer is happening right before our eyes! Then just putting out the flame on a rough volume, and applause. We waited for them almost 70 minutes. Bravo! The slender sounds of the saxophone and bass emphasize the quality of the Catalan's creation. The final part of the 30-minute set is built step by step without rushing. The saxophone takes the dramatic core on its shoulders, then the bass strongly supports it. After 26 minutes, all cards are already revealed - a gallop for eternal glory and delight of the reviewer is happening right before our eyes! Then just putting out the flame on a rough volume, and applause. We waited for them almost 70 minutes. Bravo! The slender sounds of the saxophone and bass emphasize the quality of the Catalan's creation. The final part of the 30-minute set is built step by step without rushing. The saxophone takes the dramatic core on its shoulders, then the bass strongly supports it. After 26 minutes, all cards are already revealed - a gallop for eternal glory and delight of the reviewer is happening right before our eyes! Then just putting out the flame on a rough volume, and applause. We waited for them almost 70 minutes. Bravo! Then just putting out the flame on a rough volume, and applause. We waited for them almost 70 minutes. Bravo! Then just putting out the flame on a rough volume, and applause. We waited for them almost 70 minutes. Bravo!"-Andrzej Nowak, Jazzarium (translated by Google)


Get additional information at Jazzarium.pl
Related Categories of Interest:


Improvised Music
Jazz
Free Improvisation
European Improvisation and Experimental Forms
Trio Recordings
Collective Free Improvsation
New in Improvised Music
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