Clarinetist Jeremiah Cymerman's solo work with clarinet, electronics and amplifier is a dark and aggressive work that mutates the potential of the single reed into a monstrous instrument of surprising properties.
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Edition of 300 copies.
Label: 5049 Records
Catalog ID: 5049-001
Squidco Product Code: 16775
Recorded by Jeremiah Cymerman, December 2011-June 2012 at home in New York City.
Jeremiah Cymerman-clarinets, amplifiers, synths, electronics
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• Show Bio for Jeremiah Cymerman
"Jeremiah Cymerman (b. 1980) is a New York City based musician and producer working at the intersection of many disparate contemporary musical traditions including improvised, electroacoustic and experimental music. Active since the early 2000s "the protean composer and improviser has made an indelible mark on NYC's DIY avant scene" writes the Brooklyn Observer. His recorded output, with multiple releases on Tzadik and his own 5049 Records, ranging from albums for solo clarinet, creative orchestra, amplified string quartet and acoustic improvisation, has been described by the Wire as "blown out studio creations that merge extended reed techniques with the crushing, airless sonics of black metal." Developing a formidable reputation as a clarinetist "he has an approach that is uniquely his own, a kind of passionate and relentless search for meaningful sound, or sound creation in the broadest sense. His instrument, often electronically supported, is only a tool to achieve this, and paradoxically, by doing so, he also changes the possibilities of his instrument itself." writes Stef Gijssels of the Free Jazz Blog. With concerts in over twenty five countries, collaborators of note have included Evan Parker, Nate Wooley, Toby Driver, Brian Chase, Christopher Hoffman, Charlie Looker, Mario Diaz de Leon and Peter Evans. As an audio engineer, he has recorded and mixed dozens of albums for underground labels such as Tzadik, psi, Clean Feed, Intakt and Important.
In addition to his musical output, since 2013 he has produced the popular 5049 Podcast, a weekly program of long-form conversations with many of contemporary music's most vital and daring artists. The podcast, with new episodes every Monday, has been praised for its ability to present musicians in engaging, honest, unpretentious and often humorous conversations, revealing deep insights into the minds and working methods of those involved. To date he has presented over 200 episodes of long form conversations with artists such as Oren Ambarchi, Susie Ibarra, Fred Frith, Zeena Parkins, Craig Taborn, MV Carbon, Trey Spruance, Ken Vandermark and hundreds more."-5049 Records (http://www.5049records.com/jeremiah-cymerman-1)
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1. Purification/Dissolution 13:30
2. Charnel Ground 3:26
3. Secret Refuge (For Adam Yauch) 3:53
4. The Nexus Of Unfreedom 13:00
5. The Grace Of Prayer At The Moment Of Death 9:54
sample the album:
"More often than not I travel across some kind of abashed state, where many records - even those who are conspicuously meritorious - do not offer actual handles for a review, or a mere delineation of the sensations and repercussions that they cause. Then, on any given morning, something happens that suddenly puts all things back in place. This was the case with Purification / Dissolution (an impeccable title considering the circumstance, one would say), second companionless outing by Jeremiah Cymerman after 2008′s In Memory Of The Labyrinth System. And I don't forget how sparkling Fire Sign, issued by Tzadik last year, was.
The CD, recorded at home, is built upon Cymerman's work with clarinet, electronics and amplifier. The logic lying at the basis of the music is that of one-take live improvisation, as to maintain the sharpness and momentum of the inaugural inventive command. Starting from that, the products get "hyper-edited" and reorganized according to principles that are not specifically expounded, but evidently seem to gravitate around the orbit of a rampaging immediacy expressed in visceral fashion. The first impression striking this listener as soon as "Charnel Ground" begins is a sort of immoderate wish of compressing dozens of neuroses into a single, organic-sounding snarl enriched and, in a way, "positively devastated" by the protagonist's howling screams and raw-but-rich-in-harmonics pitches.
With few exceptions, the feeling bequeathed by the whole album stays in that area. Variations abound, dynamics change, but that drive is THE justification of the record's explosive potential and thrilling allure. Tracks that in their relatively manageable conception harbor a lot of issues: the terminal saturation of the frequency spectrum is counterbalanced by the "desperately vocal" quality of the clarinet, both elements pushing the textures to aggressive extremes that boost the brain processes in the right way. Playing the material loud is the only way to extract all the juices from it, but do not think for an instant that this is unrefined substance: Cymerman is an impenitent genre-breaker whose membership among today's greats must be granted now."-Massimo Ricci, Touching Extremes
Edition of 300 copies.
The Squid's Ear!
NY Downtown & Metropolitan Jazz/Improv
Solo Artist Recordings
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