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Brennan, Patricia (w/ Herrera / Cass / Gilmore): More Touch (Pyroclastic Records)

Three drummer/percussionists and bass make up vibraphonist, marimbist, improviser and composer Patricia Brennan's sophomore album, reimagining the percussion quartet through jazz, new music and latin influences including Mexican folkloric roots, working with deceptively relaxed, highly interactive grooves that turn angular melodies into warmly irresistible music.

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product information:

UPC: 020286240273

Label: Pyroclastic Records
Catalog ID: PR 22
Squidco Product Code: 32640

Format: CD
Condition: New
Released: 2022
Country: USA
Packaging: Cardboard Gatefold w/ booklet
Recorded at Oktaven Audio, in Mount Vernon, New York, on March 31st and April 1st, 2022, by Ron Saint Germain and Ryan Streber.


Marcus Gilmore-drums

Mauricio Herrera-percussion

Kim Cass-bass

Patricia Brennan-vibraphone, electronics, marimba

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Artist Biographies:

"Marcus Gilmore (born October 10, 1986) is an American drummer. In 2009, New York Times critic Ben Ratliff included Gilmore in his list of drummers who are "finding new ways to look at the drum set, and at jazz itself", saying, "he created that pleasant citywide buzz when someone new and special blows through New York clubs and jam sessions"..

Marcus Gilmore is the grandson of Roy Haynes, who gave him his first drum kit at the age of ten, and the nephew of Graham Haynes.

A graduate of the Fiorello H. LaGuardia High School of Music & Art and Performing Arts, Marcus also received full ride scholarships to the Juilliard School of Music and Manhattan School of Music. He has been touring professionally since the age of sixteen.

Marcus has performed with some of today's best known contemporary jazz artists, including Chick Corea, Gonzalo Rubalcaba, Nicholas Payton, Steve Coleman, Vijay Iyer, and Ambrose Akinmusire. He is also embarking on solo projects with his bands "Actions Speak" and "Silhouwav."

He has been named a protégé of the 2018 Rolex Mentors And Protégé project.

In August 2020, Gilmore contributed to the live streamed recording of the singer Bilal's EP VOYAGE-19, created remotely during the COVID-19 lockdowns. It was released the following month with proceeds from its sales going to participating musicians in financial hardship from the lockdown.


Like his grandfather, Gilmore draws upon a wide variety of influences from Tony Williams to free jazz drummer Milford Graves. When talking about Graves in Modern Drummer, he said "A lot of Milford's playing deals with rhythm, but not in a very metric way-it's non-metric, a lot of waves. It's still melodic, even more so because it's very linguistic. Milford doesn't even really play snares. He keeps the snares off. His drumming sounds very melodic and very lyrical. It sounds like a language." He has specifically cited Elvin Jones on the album Speak No Evil and Tony Williams' Lifetime as influences."

-Wikipedia (

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"Mauricio Herrera is from the eastern province of Holguin, Cuba. The interest in music comes from the musical legacy of his family but He first entered the world of music was at age 7 playing violin, but by 14 began studying percussion where he found his niche. After graduation from the Jose Maria Ochoa Conservatory in Holguin, he began playing in various local popular and folkloric groups and was on faculty at Escuela Vocacional de Arte. In 1994 he moved to La Habana to broaden his horizons, where he played, toured, and recorded with several of the most prominent Popular bands in the Nineties in Cuba as Paulito FG y su Elite, Manolito Simonet y su trabuco, Manolín el Medico de la salsa, Pachito Alonso y sus Kini Kini. Juan Kemmel y la Barriada, Hector Valentin, Angel Bonne., In 2001 he relocated to Mexico where he played with several projects including Otra Idea Orquestra, Amaury Gutierrez, David Torrens, and many others.

In 2005 Mauricio moved to New York where he currently resides. He has played, recorded and toured with: David Sanchez, Stefon Harris, Nicholas Payton, Christian Scott - 90 Miles Project, Gonzalo Rubalcaba, Ignacio Berroa, Yerba Buena, Lila Downs, Manuel Valera and the New Cuban Express, Alfredo de la Fe, Bryan Lynch, Luis Perdomo, The Rodriguez Brothers, Dave Samuels and The Caribbean Jazz Project, Hector Martignon, Batyr Shukenov, La India, Spanish Harlem Orquestra, Steve Coleman, Jackie Terrasson, John Benitez, Mark Weinstein, Lew Soloff, Aruan Ortiz, Candido Camero, Yerba Buena, Osmany Paredes , Pedro Martinez y Grupo Ibboru, Cimarron project, Francisco Mela, Robby Ameen featuring Ruben Blades, Yosvany Terry Afrocuban Roots & Sextet and many others.

Mauricio Herrera Has Given Concerts and Master Classes in Different Music Colleges and Universities as, Boys & Girls Harbor ,The Banff Centre in Canada, Berklee College of music, Yale University, Harvard University, Stanford University, JAZZUV University in Xalapa Mexico. and also performing around the World with Several major artists from the Scene of Jazz and other Musical Genres.

Mauricio is Currently Endorsed by Latin Percussion LP and Vic Firth Drum Sticks."

-Mauricio Herrera Website (

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"Bassist Kim Cass is from an island off the coast of Maine, where he was introduced to bass playing at age 10. He quickly developed a unique style on the electric bass and began playing the upright bass at age 13. Developing this instrument in a jazz context became Kim's passion, as well as composing music featuring his upright playing.

When studying at the New England Conservatory of Music, Cass received personalized instruction from several virtuoso musicians including George Garzone, Ran Blake, Joe Morris and Joe Maneri. Cass currently resides in New York City. He has been featured in a wide variety of ensembles, executing music that is ever challenging and beautifully mysterious. Cass has performed with the likes of Matt Mitchell, Tyshawn Sorey, John Zorn and Bill McHenry. The solo album KIM CASS, released on Table and Chairs, is a showcase of Kim's upright bass playing and compositions. He is currently composing and practicing material for his next recording project, scheduled for 2018."

-Miller Theatre (

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"Mexican born vibraphonist, marimbist and composer Patricia Brennan has been always surrounded by music. She inherited a deep love and appreciation for musical tradition from both parents, as well as being exposed to the musical richness of her native Port of Veracruz. She started studying music at 4 years old, playing latin percussion along salsa records with her father and listening to Jimmy Hendrix and Led Zeppelin records with her mother. Also, around the same age, she started playing piano, influenced by her grandmother who was a concert pianist.

At the age of 17, Patricia was selected from musicians all over the Americas to be part of the Youth Orchestra of the Americas. During this time, she toured every country in the Americas and performed with renowned musicians such as Yo-Yo Ma and Paquito D'Rivera. Before moving to the U. S., Patricia was already performing with the top symphony orchestras in Mexico, such as Xalapa Symphony Orchestra and Mineria Symphony Orchestra. Also, she had already won several awards on marimba competitions and young artist competitions in Mexico and abroad. She was accepted at the prestigious Curtis Institute of Music in Philadelphia, where she was able to perform alongside high caliber musicians from all over the world and conductors such as Simon Rattle and Charles Dutoit. She also performed with the prestigious Philadelphia Orchestra and other acclaimed new music groups such as members from Eight Blackbird.

Patricia's search for freedom in her musical expression led her to find her voice through the vibraphone and mallet percussion in improvisational music and composition.

Currently, Patricia is a member of Grammy nominated John Hollenbeck Large Ensemble and Michael Formanek Ensemble Kolossus. She is also a member of Blind Spot with Teju Cole, a project led by renowned pianist Vijay Iyer along with bassist Linda Oh and writer Teju Cole. She has also collaborated with Vijay Iyer in other projects, including the large ensemble project Open City and several small ensemble performances along with renowned musicians like bassist Reggie Workman and trumpeter Wadada Leo Smith. She is also a member of Phalanx Ambassadors, a project led by pianist Matt Mitchell, and she is also a member of Tomas Fujiwara's 7 Poets Trio along with cellist and composer Tomeka Reid. Among Patricia's own projects include the newly recorded solo project Kaleidoscope and MOCH.

Patricia has performed with many renown musicians including singer and composer Meredith Monk and Theo Bleckmann, saxophonists Jon Irabagon and Scott Robinson, trumpeter Ambrose Akinmusire, drummer Marcus Gilmore, guitarist Mary Halvorson and many others. She has performed in venues such as Newport Jazz Festival, SF JAZZ, and Carnegie Hall, as well as international venues such as Wiener Konzerthaus in Vienna, Austria, Palacio de Bellas Artes in Mexico City and Teatro Colón in Buenos Aires, Argentina. She has also appeared on National Television and Public Radio several times.

Patricia has appeared on several recordings, including an ECM recording with Michael Formanek Ensemble Kolossus called "The Distance" and Matt Mitchell's featured recordings "A Pouting Grimace" and "Phalanx Ambassadors" under Pi Recordings. Also, Patricia recorded a new record with the Grammy nominated John Hollenbeck Large Ensemble called "All Can Work" which was released in January 2018 under New Amsterdam Records. Patricia will be releasing her debut solo album "Kaleidoscope" in 2019."

-Patricia Brennan Website (

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track listing:

1. Unquiet Respect 5:55

2. More Touch 7:47

3. Space For Hour 14:51

4. El Nahualli (The Shadow Soul) 5:16

5. The Woman Who Weeps 5:31

6. Square Bimagic 5:49

7. Convergences 6:33

8. Robbin 10:13

9. Sizigia (Syzygy) 5:11

10. And There Was Light 3:39
sample the album:

descriptions, reviews, &c.

"More Touch expands brilliantly on the singular vocabulary showcased on Brennan's solo debut. Enhancing the resonant beauty and percussive melodicism of the vibraphone and marimba with extended techniques and subtle electronic manipulation, Brennan employs an expansive sonic palette that blurs the lines between progressive jazz and contemporary classical music. On More Touch, she bridges tradition and innovation by drawing influences from the Afro-Cuban and Son Jarocho traditions - and their attendant improvisatory practices - of her native Mexico.

The singular make-up of Brennan's quartet was sparked by her experiences playing in percussion ensembles while a conservatory student at Philadelphia's prestigious Curtis Institute of Music. "A percussion quartet is all about creating a collective texture or timbre," she explains. "At the same time there's a very strong improvisational culture in my hometown of Veracruz because of the Afro-Cuban music and Son Jarocho influence. In a way, the goal for this quartet was to have four percussionists together as a unifying starting ground, and adapt that idea as closely as possible to a more traditional jazz quartet."

Brennan's connection with Herrera was another starting point for the project. The Cuban-born master percussionist spent four years in Mexico in the early 2000s before relocating to New York, and brings a shared pool of influences from both the Afro-Cuban tradition as well as his direct experience in Brennan's homeland. "Mauricio knows the tradition inside and out, which I really appreciate and respect," Brennan says. "There's a lot of influence from Cuban percussion back home, so just knowing that Mauricio comes from that lineage is inspiring in itself. But within that tradition it can be difficult to find a musician with the mindset to explore different realms. Mauricio has worked with people like Andrew Cyrille and Aruan Ortiz, musicians who lean a bit more into that outer sphere, so he's able to adapt the tradition."

In Marcus Gilmore, Brennan has enlisted one of the most distinctive and original drummers in modern jazz, someone who has explored rhythmic traditions from Cuban, African, and Carnatic musics as well. "Marcus is an incredible musician," Brennan says. "Like Mauricio, he has a foundation that is aware of the tradition not only of his own instrument but also in the kinds of music that I am inspired by. On top of that, he's able to play really free or swing - he's very malleable, and I was searching for a drummer that could navigate all those avenues."

Bass player may not typically be considered a percussionist, but in completing her reimagined percussion quartet Brennan knew that Cass would think like one. "Kim is very interested in complex rhythmic structures and navigating through them," she explains. "I wanted him to play the traditional bass role, but I know that he also has the mindset of a drummer. He's always thinking about different ways of creating texture with rhythm."

Brennan's own virtuosic yet boundless approach to the vibes and marimba takes the percussive and melodic aspects of the instruments into uncharted territory via her use of electronics, adding further possibilities to an already expansive ensemble. The result is a compellingly unpredictable venture, where reggae soca grooves buoy intricate, angular melodies; warm, ringing tones skitter into electronic glitchiness and give way to redolent, Xenakis-inspired silences; the infectious beat of Cuban son spirals into higher-order geometric designs; and mesmerizing Batá drums become shrouded in resplendent, borealis-like swathes of color.

More Touch suggests the tactile nature of this percussion-focused project, but it also hints at the vibrant humanity that ripples through the stunning interplay and evocative silences that make this music such a moving and captivating experience. "The title reflects a constant inner search for me," Brennan concludes. "It's about being in touch with who I am and where I come from, but also being in touch with other people. With the right people, music making happens when you don't have to say anything. In order to get to that point, you have to be so connected, so in tune with each other. It comes from being in tune with nature and the universe and the world and other people, all at the same time."

Patricia Brennan

Mexican-born vibraphonist, marimbist, improviser and composer Patricia Brennan has been hailed by JazzTimes for her "unconventional sensibilities... reinventing the art of vibraphone composition and technique." Having performed with the top symphony orchestras in Mexico while still in her teens, Brennan studied at Curtis Institute of Music in Philadelphia, where she performed with the Philadelphia Orchestra and such new music ensembles as Eighth Blackbird. Brennan is a member of the Grammy-nominated John Hollenbeck Large Ensemble, Mary Halvorson's Amaryllis, Michael Formanek's Ensemble Kolossus, Matt Mitchell's Phalanx Ambassadors, the Webber/Morris Big Band; and Tomas Fujiwara's 7 Poets Trio with cellist and composer Tomeka Reid. She has also collaborated with pianist Vijay Iyer as a member of Blind Spot with writer Teju Cole and bassist Linda Oh, and performed and recorded with such renowned musicians as Sylvie Courvoisier, Dan Weiss, Trevor Dunn, Dave Douglas, Fay Victor, Darius Jones, and many others. Brennan's own projects include her solo debut, Maquishti, and MOCH, a collaborative duo with percussionist, drummer and turntablist Noel Brennan (DJ Arktureye).

"-Click Roll Boom

Get additional information at Click Roll Boom
Related Categories of Interest:

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Percussion & Drums
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