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Unauthorized Caprices

Unauthorized Caprices

  • Door Kihnoua
  • Release 1-5-2010
  • Muziekgenre Rock
  • Media-indeling CD
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Prijs: € 16,53

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Musicians: Larry Ochs: sopranino and tenor saxophones Dohee Lee: voice Scott Amendola: percussion; electronics? with Liz Allbee: trumpet and/or electronics on "Slat", "Nothing Stopped but a Future" and "Less than a Wind" ?Fred Frith: guitar on "Nothing Stopped but a Future" ?Joan Jeanrenaud: cello on "Nothing Stopped but a Future" and "Less than a Wind" Published by Not Two Records, 2010 Here's the first review on the CD (from Downtown Music Gallery): Kihnoua is a new ensemble that combines the thoughts, sounds, and structures of contemporary improvised music with the traditional music of Asia and other folk-music influences from Asia, Africa, and Europe. With Larry Ochs of the critically acclaimed Rova Saxophone Quartet, drumming powerhouse Scott Amendola, composer, vocalist, and dancer Dohee Lee plus guests: Liz Albee on trumpet & electronics, Fred Frith on guitar and Joan Jeanrenaud on cello. I didn't know this vocalist, Ms. Dohee Lee, before this disc, but this is a good showcase for her as an integral part of Larry Ochs' fine new trio. Both Scott Amendola and Liz Allbee contribute strange electronics sounds to the long opening piece which works well with Ms. Lee's vocal sounds. You can tell that Mr. Ochs' exhilarating sax and Mr. Amendola's propulsive drumming have been working together for many years since they compliment each other so well. Ms. Allbee is another strong Bay Area improviser who has worked with Henry Kaiser, Damon Smith and Weasel Walter previously. Ms. Allbee contributes a good deal of extended trumpet sounds to these pieces and is also a good match for Larry, Scott and Dohee. Former Kronos cellist Joan Jeanrenaud & guitarist Fred Frith add their sonic spice to a long piece called 'Nothing Stopped but a Future' which is expertly navigated by Scott's strong drumming. Joan's soaring cello adds flames to this burning piece while Dohee's voice and Larry's sax swirl intensely around one another. Ms. Lee's scary whispered vocals are featured on 'DeeHyak' while she erupts on 'Weightless', spewing out intense layered aggressive vocals with sprawling drums underneath. This disc is one of the most intense and spirited exhibitions I've heard in recent memory. Don't miss out on this jewel. - Bruce Lee Gallanter, Downtown Music Gallery ==================================================== Here's the second review of this CD, by critic Sergio Piccarilli, from El Intruso (www.elintruso.com): Spanish to English translation: 'The lack of curiosity and appetite for foreign cultures, I believe, is an index of decay and inaction.' (Juan Goytisolo) Originally, the concept of cultural diversity was used to describe the variation and the coexistence of different cultural identities. Often, this multiplicity was seen as a cultural plurality in open opposition to the notions of homogeneity and uniformity. However, in recent times, the vision of diversity as something contrary to the notion of homogeneity has given way to the interpretation that the natural opposite is the disparity. That change is not just a semantic gimmick but a firm step towards integration, the pursuit of shared values and the survey of a systems perspective in which each culture develops and evolves in contact with other cultures. The sectors of power, under globalization, have not done anything but try to dilute this diversity by strengthening geopolitical borders, the defense of big business, distributive inequality, social exclusion and, above all, trying to push into the shadows those cultures that are not part of the prevailing system. Fortunately, art is always there to remind us that cultural diversity is part of the logic that there are other ways of thinking and living which are based on respect, as well as acceptance of differences, all helping make possible the interplay of multiple identities and the unity of what appears on the surface to be "opposites." All this is related, both in concept and content, with the trio Kihnoua and their debut album Unauthorized Caprices. This project, which finds the saxophonist /composer Larry Ochs in the company of vocalist Dohee Lee and Scott Amendola on drums and electronic sound-package unifies the structure and nomenclature of Western improvised-music with ancestral forms of Korean folk-music and the traditional song-form called P'ansori as well as improvisational modes contained in the Korean Sinawi form. This integration of apparent opposites is explicitly alluded to in the name of the trio, as Kihnoua in ancient Greek means 'difference' and, by extension of the term in it's dialectic application expresses 'the unity of opposites.' Kihnoua seems to honor the statement of Faraday's Law which states that 'opposites attract', since the center of Ochs' proposed aesthetic is based on an unexpected affinity between the oral tradition of the ethnic music and the spontaneity of improvised-music associated with the new millennium. In that quest, the trio manages to draw a bisector between creativity encompassed within the limits of the writing and that which is included in the exploration of the concept of instant composition, trying to find the exact point of intersection between the past and the future, the profane and the sacred, between the atavistic and experimental. The exploratory nature expressed by Kihnoua is facilitated by the qualities and skills of the musicians, integrated together in their prime. The wide range of musical interests and creative and unwavering commitment of it's leader, saxophonist Larry Ochs, has been expressed with equal authority in recent years in a wide range of projects including the legendary Rova Saxophone Quartet, Maybe Monday, What We Live, the trio (now turned into a quintet) Larry Ochs Sax and Drumming Core, and group Ochs / Masaoka / Lee, among others. For his part the amazingly versatile Scott Amendola, including his important contributions both to Kihnoua and Larry Ochs Sax and Drumming Core, weaves his sounds into some of the most significant collective enterprises today, such as The Nels Cline Singers, Plays Monk, Amendola vs Blades, Ben Goldberg's Go Home, Comedies for the Young and his own Scott Amendola Band. The now San-Francisco-based Korean singer Dohee Lee, besides being one of the most outstanding exponents of Asian American arts and culture, was the founder of Project PURI (multidisciplinary approach that joins elements of music, dance and visual arts); she has collaborated with several contemporary dance companies such as Kunstoff and Shinichi Koga's Inkboat and has collaborated with the famous Kronos Quartet, the cellist Theresa Wong, pianist Jon Jang and bassist Tatsu Aoki, among many others. This trio featured in Unauthorized Caprices adds guests for the recording: the remarkable trumpeter Liz Albee (Weasel Walter Septet Anthony Braxton Tentet, Neung Phak, etc.), the legendary British guitarist Fred Frith (Cosa Brava, Keep the Dog, Massacre, etc. .) and the Kronos Quartet cellist Joan Jeanrenaud. Opening the album with the long work Slat, allows us to enter an unusual sound universe where the events lead to a confluence of improvised music with the XXI century ancestral P'ansori effluvia; Korean narrative song in it's original mode is usually represented by a singer accompanied by a gosu, a barrel-shaped drum. This cultural juxtaposition is imposed here resulting in an unusual, strange and amazing listening experience, where Dohee Lee's voice serves as the narrator on the backdrop/ base that Scott Amendola provides her, while tenor saxophonist Larry Ochs acts as an intermediary, like a chorus in Greek theater. The concise input from Liz Albee and harmonious fabric from Amendola on electronics adds a futuristic breath, one that remains opposed to traditional idioms which the tenor sax suggests, while the trumpet textures form a strategic bridge between musical worlds . In the disturbing Nothing Stopped But a Future, Joan Jeanrenaud on cello and Fred Frith's guitar join the lineup to set up, together, a kind of systematic organization of musical spontaneity splicing timbres into the free improvisation which seem to add codes with shamanistic rituals included in the forms of Sinawi improvisation. DeeHyak is a captivating voice and saxophone duet that serves both to ratify the technical mastery and expressive quality of Larry Ochs (tenor and sopranino alternating here) and to verify the voice of Dohee Lee, who shows the undeniable confluence of the patterns or recitatives of Korean opera and scat vocal-improvisations of jazz. Weightless again acknowledges the P'ansori influence as Lee assumes the leading role here, under the escort of drummer Amendola with sopranino sax of Ochs offering sporadic accents. In the pastoral calm of Less Than A Wind, Jeanrenaud returns on cello and Albee on electronics, a quintet format, where the listener is transported to an unknown universe of sound: different, sad, a melancholy and strange beauty. The end...... Kihnoua is an artistic action asking us to all be in favor of cultural diversity and, although for some it would be unreasonable, that action is based on the unity of opposites. 'The reasonable man adapts himself to the world, the unreasonable man persists in trying to adapt the world to himself. All progress therefore depends on the unreasonable man.' (George Bernard Shaw) Sergio Piccirilli As seen on El Intruso (http://www.elintruso.com/article.php?id=1868)

Details

Kunstenaar: Kihnoua
Titel: Unauthorized Caprices
Genre: Rock
Releasedatum: 1-5-2010
Label: CD Baby
Media-indeling: CD
UPC: 5901549185003

Credits