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Eskelin, Ellery: Ten (Hatology)


 

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product information:


UPC: 752156061120

Label: Hatology
Catalog ID: 611
Squidco Product Code: 4376

Format: CD
Condition: New
Released: 2004
Country: Switzerland
Packaging: Cardboard Gatefold 3 Panels
Recorded at Systems Two Studios in Brooklyn, New York, by Jon Rosenberg.


Personnel:

Ellery Eskelin-tenor saxophone

Andrea Parkins-piano, accordion, sampler

Jim Black-drums and percussion

Marc Ribot-electric guitar

Melvin Gibbs-electric bass

Jessica Constable-voice

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Artist Biographies:

"For the past thirty years Ellery Eskelin has been at the forefront of the global creative improvised music scene. Based in New York City, he has traveled widely performing, recording and amassing a very personal and iconoclastic body of work. And yet Ellery Eskelin has always remained deeply committed to the traditions of jazz and American music. Eskelin embodies this seeming contradiction with ease. He does not see jazz as a style or idiom but as a process. Further, a process of creative development that has great relevancy to our time. In this pursuit Eskelin consistently delivers to the listening public unadulterated, passionate music with no excuses and no apologies.

Ellery Eskelin (born 1959) was raised in Baltimore and began playing the tenor saxophone at age ten, inspired by his mother "Bobbie Lee" who played Hammond B3 organ professionally in the early sixties. In 1983 Eskelin moved to New York City and in 1987 began recording with the cooperative group Joint Venture which also began his exposure on the European international touring circuit. Soon after, Eskelin formed the first of many projects as a leader beginning with a trio comprised of bassist Drew Gress and drummer Phil Haynes followed by a short lived group featuring Joe Daley on tuba and Arto Tuncboyaciyan on bakdav drums and percussion. In 1992 Eskelin joined drummer Joey Baron's group, "Baron Down" (instrumentation of drums, trombone and saxophone), an experience that proved to be an important catalyst in his own work fostering an increased interest in new and unusual instrumentation. In 1994 Eskelin formed the group most often associated with him including accordionist Andrea Parkins and drummer Jim Black. To date he has written over 50 compositions for this group, each of which has been documented on a series of CD releases on the Swiss hatHUT record label. The band has toured regularly and performed hundreds of concerts in the US, Canada and throughout Europe during the past twenty years. Eskelin's most recent project is "Trio New York" featuring organist Gary Versace and drummer Gerald Cleaver. "Trio New York" takes a free approach to the great American songbook, bringing Eskelin full circle to his musical beginnings while addressing his varied musical journeys since then.

Along the way Eskelin has done a number of side projects including a group featuring guitarist Marc Ribot and drummer Kenny Wollesen dedicated to the music of Gene Ammons, improvisatory duos with Dutch drummer Han Bennink, an improvising ensemble consisting of strings, vibraphone and saxophone and most recently a group featuring Susan Alcorn on pedal steel guitar and bassist Michael Formanek. Over the years Eskelin has developed a number of other important associations with musicians such as Gerry Hemingway, Mark Helias, Sylvie Courvoisier, and Bobby Previte. As a side-person Eskelin has worked with a broad cross section of jazz, avant-pop and new-music figures such as organist Brother Jack McDuff, composer Mikel Rouse, guitarist Eugene Chadbourne, oud player and composer Rabih Abou-Khalil, drummer Daniel Humair and the pseudo-group "The Grassy Knoll" among many others.

Eskelin's recordings as a leader and co-leader (there are currently twenty) have been named in Best of the Year critics' polls in the New York Times, The Village Voice , and major jazz magazines in the US and abroad. He also appears on over fifty recordings as a side person. DownBeat Magazine named Eskelin as one of the 25 Rising Stars for the Future in its January 2000 issue ("...players who not only insure the music's survival but promise to take it to the next level") as well as including him in their Annual Critics Polls nearly every year since then. Eskelin was a nominee for the prestigious Danish Jazzpar award in 2003 and was the recipient of a Chamber Music America French-American Exchange grant in 2007 and in 2014 as well as a Chamber Music America New Jazz Works grant in 2009."

-Ellery Eskelin Website (http://home.earthlink.net/~eskelin/styled-5/)
11/23/2021

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

"Andrea Parkins is an American composer, sound artist, performer and improvisational musician based in New York. She is known for her inventive explorations on the electric accordion, generative sound processing, and arrangements of objects and sound. Parkins received a BFA from Tufts University and MFA from Mason Gross School of the Arts, Rutgers University.

Andrea Parkins's work is influenced by the compositional strategies of John Cage and Fluxus and pays homage to musique concrète and 1970s analog synth. Parkins often incorporates electronically processed accordion, customized sound processing, live tape manipulation, analog effects boxes, laptop electronics, acoustic piano, sampling, and amplified objects. Her method and sound were characterized by LA Weekly as: "The big, varied, confidently conceived abstractions Parkins yanks from her squeezebox, laptop, effects devices and maybe piano - cloudy and cranky one minute, surgically sharp the next." With an unconventional approach to instruments, Parkins "fragments the instrument's traditional vocabulary and expands its capabilities with electronics and extended techniques."

Recently Andrea Parkins has been developing a series of interactive sound and image works inspired by the structures of Rube Goldberg's circuitous machines. Describing this organizational approach Stephen Bezan remarked: "the individual sounds manipulated by Parkins seem to interact and influence the outcome of the other, crafting a goal-oriented structure based on timbre, not harmony or rhythm. This approach transcends the inherent cacophony of the material and reveals a genuinely organic, even playful quality to her work." Parkins has described her Rube Goldberg approach as a means for examining slippages between object and meaning. She observed: "An important conceptual thread running through these pieces is the discovery and expression of metaphors for the slippage and tension between object and meaning that occurs through the passage of time." Describing her intentions, Parkins noted: "As both a sonic and visual artist, I try to build and layer idiosyncratic systems and structures that point to these shifts in meaning."

Andrea Parkins has toured and exhibited internationally and has been presented at the Whitney Museum of American Art, The Kitchen, Experimental Intermedia, and Diapason Gallery for Sound and Intermedia. She has collaborated with musicians such as Nels Cline, Jim Black, Ellery Eskelin, David Watson, David Fenech, Fred Frith, Thomas Lehn, Günter Müller, and Otomo Yoshihide and choreographers Olive Bieringa and Otto Ramstad from the BodyCartography Project. Parkins has been the recipient of various grants, awards, and residencies including Meet the Composer, New York State Council for the Arts, Harvestworks Media Art Center, in New York City, Frei und Hanseastadt Hamburg Kulturbehoerde, in Germany, and CESTA in the Czech Republic."

-Wikipedia (https://en.wikipedia.org/wiki/Andrea_Parkins)
11/23/2021

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

Jim Black is at the forefront of a new generation of musicians bringing jazz into the 21st century. In addition to being one of the most influential drummers of our time, he is also the leader of one of the world's most forward-thinking bands, AlasNoAxis, featuring his longtime collaborators Chris Speed, Hilmar Jensson and Skúli Sverrisson. Based on the foundation of his virtuosic but highly personal approach to jazz drumming, Black's aesthetic has expanded to include Balkan rhythms, rock songcraft and laptop soundscapes. Though he is revered worldwide for his limitless technique and futuristic concepts, what many listeners treasure in most Jim Black's work is the relentless feeling of joy and invention he brings to his performances. Jim Black's smiling, kinetic, unpredictable presence has enthralled and inspired audiences worldwide for over twenty-five years.

Since the mid-90's, Black has played a major role in the incorporation of new sounds and techniques into the jazz/creative music context. As a member of the collective group Pachora (with Speed, Sverrisson, and guitarist Brad Shepik) Black was one of the leaders in the study and adaptation of Balkan music into jazz-based music. His advanced techniques abstracted the odd time signatures of the Balkans into a new polyrhythmic language equally informed by modern jazz, drum&bass and the dumbeks of the Balkans. Black has also been an innovator in the use of electronics in improvisation, bridging the gap between electro-acoustic improv and more jazz-based traditions. Today, Black's performances are just as likely to feature his laptop-based electronic textures as his drumming.

Born in 1967, Jim Black grew up in Seattle alongside future colleagues Chris Speed, Andrew D'Angelo and Cuong Vu. After cementing their personal and artistic relationships in Seattle's various youth jazz ensembles, in 1985 they moved to Boston, where Black entered the Berklee School of Music. In Boston, Black, Speed and D'Angelo formed Human Feel with guitarist Kurt Rosenwinkel, which rapidly attracted the attention of the jazz cognoscenti in Boston, New York and beyond.

By 1991, Black and the other members of Human Feel had moved to New York City, where they electrified the Downtown music scene then centered around the Knitting Factory and rapidly became among the city's busiest sidemen. Black's early years in New York saw him take featured roles in some of the most critically acclaimed bands of the time, like Tim Berne's Bloodcount, Ellery Eskelin's trio, and Dave Douglas's Tiny Bell Trio. Thus began fifteen years of near-constant touring and recording, with the above bands as well as artists like Uri Caine, Dave Liebman, Nels Cline, Steve Coleman, Tomasz Stanko, and Laurie Anderson.

-Jim Black Website (http://www.jimblack.com/Jim_Black_dotcom/BIO.html)
11/23/2021

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

"Marc Ribot (pronounced REE-bow) was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/punk Realtones, and from 1984 - 1989, of John Lurie's Lounge Lizards. Between 1979 and 1985, Ribot also worked as a side musician with Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others.

Rolling Stone points out that "Guitarist Marc Ribot helped Tom Waits refine a new, weird Americana on 1985's "Rain Dogs", and since then he's become the go-to guitar guy for all kinds of roots-music adventurers: Robert Plant and Alison Krauss, Elvis Costello, John Mellencamp." Additional recording credits include Soloman Burke, Neko Case, Diana Krall, Beth Orton, Marianne Faithful, Arto Lindsay, Caetano Veloso, Laurie Anderson, Susana Baca, McCoy Tyner, The Jazz Passengers, Medeski, Martin & Wood, Cibo Matto, Jamaaladeen Tacuma, James Carter, Vinicio Capposella (Italy), Auktyon (Russia), Vinicius Cantuaria, Sierra Maestra (Cuba), Alain Bashung (France), Marisa Monte, Allen Ginsburg, Madeleine Peyroux, Sam Phillips, and more recently Joe Henry, Allen Toussaint, Norah Jones, Akiko Yano, The Black Keys, Jeff Bridges, Jolie Holland, Elton John/Leon Russell and many others. Ribot frequently collaborates with producer T Bone Burnett, most notably on Alison Krauss and Robert Plant's Grammy Award winning "Raising Sand" and regularly works with composer John Zorn.

Marc has released over 20 albums under his own name over a 35-year career, exploring everything from the pioneering jazz of Albert Ayler with his group "Spiritual Unity" (Pi Recordings), to the Cuban son of Arsenio Rodríguez with two critically acclaimed releases on Atlantic Records under "Marc Ribot Y Los Cubanos Postizos". His avant power trio/post-rock band, Marc Ribot's Ceramic Dog (Pi Recordings), continues the lineage of his earlier experimental no-wave/punk/noise groups Rootless Cosmopolitans (Island Antilles) and Shrek (Tzadik). Marc's solo recordings include "Marc Ribot Plays The Complete Works of Frantz Casseus" (Les Disques Du Crepuscule), "John Zorn's The Book of Heads" (Tzadik), "Don't Blame Me" (DIW), "Saints" (Atlantic), "Exercises in Futility" (Tzadik), and his latest "Silent Movies" released in 2010 on Pi Recordings was described as a "down-in-mouth-near master piece" by the Village Voice and has landed on several Best of 2010 lists including the LA Times and critical praise across the board. 2013 saw the release of "Your Turn" (Northern Spy), the sophomore effort from Ribot's post-rock/noise trio Ceramic Dog, and 2014 saw the monumental release: "Marc Ribot Trio Live at the Village Vanguard" (Pi Recordings), documenting Marc's first headline and the return of Henry Grimes at the historical venue in 2012 already included on Best of 2014 lists including Downbeat Magazine and NPR's 50 Favorites.

Marc has performed on scores such as "The Kids Are All Right," "Where the Wild Things Are," "Walk The Line (Mangold)," "Everything is Illuminated," and "The Departed" (Scorcese)." Marc has also composed original scores including the French film Gare du Nord (Simon), the PBS documentary "Revolucion: Cinco Miradas," the film "Drunkboat," starring John Malkovich and John Goodman, a documentary film by Greg Feldman titled "Joe Schmoe," a feature film by director Joe Brewster titled "The Killing Zone", and dance pieces "In as Much as Life is Borrowed", by famed Belgian choreographer, Wim Vandekeybus, and Yoshiko Chuma's "Altogether Different". Marc is also currently touring his live solo guitar score to Charlie Chaplin's "The Kid", which was commissioned by the NY Guitar Festival and premiered Jan 2010 at Merkin Hall, as well as a program of new arrangements of classic Film Noir scores commissioned by the New School Noir Arts Festival 2011.

In 2009, Marc was named curator and musical director for the year's Century of Song Festival, part of the Ruhr Triennale in Germany. The concert series sparked new collaborations with Iggy Pop, Marianne Faithfull, David Hidalgo of Los Lobos, master cajón player Juan Medrano Cotito, Carla Bozulich and Tine Kindermann.

Marc's talents have also been showcased with a full symphony orchestra. Composer Stewart Wallace wrote a guitar concerto with orchestra specifically for Marc. The piece was premiered by the National Symphony Orchestra in Washington DC in July of 2004 and also appeared at The Cabrillo Festival in Santa Cruz, CA in August of 2005.

Marc is currently touring with several projects including the Marc Ribot Trio, a free jazz group featuring legendary bassist Henry Grimes and Chad Taylor on drums, his power trio Ceramic Dog with bassist Shahzad Ismaily and drummer Ches Smith, the Philly soul meets the harmolodics of Ornette Coleman's The Young Philadelphians with Jamaaladeen Tacuma and Calvin Weston, and with Caged Funk, a project of funk arrangements of John Cage's music featuring Bernie Worrell of Parliament Funkadelic fame."

-Marc Ribot Website (http://marcribot.com/bio)
11/23/2021

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

"Melvin Gibbs is an American bass guitarist, composer, and producer who has appeared on close to 200 albums in diverse genres of music.

A native of Brooklyn, New York, Gibbs attended Medgar Evers College and the Brooklyn Conservatory of Music. After attending and graduating from the Berklee College of Music, Gibbs first came to public notice as a member of the group Defunkt which was a mainstay of the early 1980s downtown New York scene. Throughout most of the 1980s, he played in drummer Ronald Shannon Jackson's Decoding Society alongside guitarist Vernon Reid, as well as playing with guitarist Sonny Sharrock and saxophonist John Zorn. Additionally with Jackson and guitarist Bill Frisell he was also a member of the group Power Tools. Gibbs co-led the band Eye and I with D.K. Dyson who also co-founded the Black Rock Coalition of which he is also an original member.

He was a member of the avantmetal Rollins Band from 1993 to about 1998, and again in 2006 when the group briefly reformed. As a member of the Rollins Band, he performed at Woodstock '94 in 1994 and was nominated for a Grammy Award in 1995. Gibbs has also recorded with hip-hop artists Dead Prez, Brazilian artists Caetano Veloso and Marisa Monte, Latin jazz artist Eddie Palmieri, Nigerian artist Femi Kuti, and guitarist Marc Ribot. He has also produced albums by guitarist/singer Arto Lindsay and turntablist DJ Logic.

Gibbs formed the Punk-Funk All-Stars with James Blood Ulmer, Defunkt leader Joseph Bowie, Vernon Reid and Ronald Shannon Jackson. He co-leads the band Harriet Tubman with guitarist Brandon Ross and drummer JT Lewis. His other current projects include Melvin Runs the Hoodoo Down with guitarist Pete Cosey and keyboard player John Medeski, the JFM Trio featuring guitarist Jeff Parker and percussionist Francisco Mora, and the Geechee Seminoles, a duo featuring Gibbs and drummer/hand-body percussionist/dancer David Pleasant.

Ancients Speak, the first album by Melvin Gibbs' Elevated Entity, was released on March 17, 2009, by Livewired Music.

In 2009, he joined the group "SociaLybrium", alongside Rock and Roll Hall of Fame inductee keyboard player Bernie Worrell and long time Parliament-Funkadelic guitarist and musical director DeWayne "Blackbyrd" McKnight as well as J.T. Lewis on drums. The group's album, For You/For Us/For All was released by Livewired Music in December 2009.

Gibbs took on the role of record producer while with the Rollins Band in the 1990s. He worked in that capacity, producing records for other artists on Rage Records."

-Wikipedia (https://en.wikipedia.org/wiki/Melvin_Gibbs)
11/23/2021

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


1. If Not Now 3:25

2. Tell Me When 4:07

3. Anyone's Guess 6:01

4. Say It Again 5:09

5. Ask To Be 6:14

6. More Than That 5:26

7. Anywhere, Not Here 5:35

8. If So 2:17

9. Ask Me Why 2:35

10. No Illusions 8:34

11. I Couldn't Say 6:19

12. Take Me 8:04
descriptions, reviews, &c.

"It's curious that both Andrea Parkins and Jim Black's names are absent from the front cover of Ten. This marks the tenth year the band has been together and both long-time associates do participate on this project. Despite functioning as the leader, Eskelin's been intent on presenting Parkins and Black as equals, but perhaps the additional presence of Jessica Constable, Marc Ribot and Melvin Gibbs complicate the issue: Inclusion of every musician's name on the front cover might indicate the band had doubled in size for the foreseeable future, while making use of standard Eskelin/Parkins/Black billing would in effect disrespect Constable, Ribot and Gibbs' contribution. Then again, perhaps Ten was primarily an Eskelin outing from the very beginning. The Eskelin/Parkins/Black band produced a decade of recordings that have successively pared down compositional elements in favor of spontaneity. More recent recordings are a testament to the benefits of a long-standing working relationship as evidenced by consistent feel and approach that runs throughout their entire body of work. This remains true even when predetermined devices are, by now, often absent. Introducing Constable, Ribot and Gibbs into a unit that has established a one-of-a-kind relationship would appear to be an invitation to disaster. Amazingly, nothing could be further from the truth. On the surface, the presence of vocals would seem to threaten all that Eskelin's band has collectively worked toward. Vocalists typically present structured meter and rhyme and force instrumentalists into a subordinate role -even when that's not the intent. The phenomena is similar to a photograph of a busy street corner; pedestrians become the focus of our gaze and the surroundings simply provide context. The same is true as the human voice will predominately draw our attention while other aural elements hold secondary meaning. "Tell Me When," the first of three tracks on Ten featuring Jessica Constable, effectively breaks any hard-wired preconception of the voice's hierarchy within a musical framework and sets the stage for her remaining appearances. Free of conventional singing limitations, Constable dispenses with standard-lyrics bound presentation. She instead prefers to work within the dynamic of broken, juxtaposed syllables and it is just this abstraction that allows her voice to interact along with the rest of the band in a purely instrumental capacity. Unrestricted by the spoken word's explicit meaning, the listener is free to draw context and emotion that change with subsequent hearings and the listener's own mood. Ultimately, Constable's work on Ten seems a natural and logical extension of Eskelin's singular vision. Marc Ribot's electric guitar and Melivn Gibbs's bass also supply Eskelin's music with new colors and textures. Both Ribot and Gibbs not only assimilate Eskelin's misenscene, but they build upon and extend the visceral impact of the entire project-giving newmeaning, shedding new light on what Eskelin achieves with Parkins and Black. Personnel configurations shift from track to track and perhaps the most surprising cut on Ten is "Take Me." Gibbs' bass sets an almost ominous early lead over Parkins' organ samplings and Constable's somewhat more conventional vocal. As Black, Ribot and then Eskelin enter, the final track builds from slow introspection to feverish exclamation and everything in between. There is just enough groove and blues connection that "Take Me" has potential for becoming an "alternative" hit. Eskelin's standard trio is also heard intact on this recording and their hallmark interaction remains as virtuosic, dynamic and intriguing as ever. Apparently there are several successful trio numbers that were recorded but do not appear on Ten. While it's difficult to argue with the results of this project and the sequencing of Ten 's tracks, it's also a sad reality that the outtakes may never be heard. This all brings us back to the significance (if any) of billing. The history between Eskelin, Parkins and Black is thick and Ten poses a number of questions: Does this mark a turning point in the band's overall concept? Will guest musicians be heard more often in collaboration? Could the band's permanent personnel grow in size? Is this a one-of-a- kind project and if so, how will Ten and its implications affect an otherwise stable trio's music? We'll just have to wait and see."-Shawn Mcgrew, allaboutjazz.com

Related Categories of Interest:

Hat Art
Jazz
NY Downtown & Metropolitan Jazz/Improv
Ribot, Marc
Improvised Music
Victoriaville International Actual Music Festival


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