SANTIAGO LATORRE
Eclíptica
ALP054
Accretions Records 2012
08 Tracks. 39mins13secs

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Two years on from his solo debut, Órbita (Accretions), Barcelona-based experimental saxophonist Santiago Latorre delivers a second slice of sparse atmospheric avant jazz for the Californian imprint. If jazz is undeniably part of the man’s lexicon, his extensive use of electronic textures and atmospheric soundscapes hint at much wider terrains. While this was already fairly developed on Órbita, Latorre takes this to a very different level with Eclíptica.

Infused with his fascination for outer space, Latorre creates here a wonderfully light and peaceful soundtrack, where acoustic and electronic sounds combine to form a whole. If he relies less solely on his sax, he expands his pool of instruments to incorporate piano, accordion, tuba and vocals, but he uses this richer sonic palette with extreme parsimony, applying touches with the greatest of care. On Eclíptica1, he builds a beautiful introspective theme from a stripped down piano motif set against a textured backdrop upon which resonate woodblocks, with only a hint of sax heard in the second half. There is an almost mantra-like aspect to the piece which never finds an echo elsewhere on the record, yet, if the tone changes with the following tracks, the mood remains contemplative all the way through. This can at times take on quite a dramatic turn, as is the case on the nebulous Eclíptica6, on which Latorre experiments with distorted instruments and minimal drone forms for part of the piece, before moving towards sweeping orchestrations in the latter part.

Eclíptica2 also opens on fairly rarefied grounds, but here, Latorre places an impressionist sax motif over the muffled hum of what could be distant urban noises. Things rapidly take on a much more elaborate aspect as percussions first, then accordion, are introduced. Whilst in some ways more straightforward, this principle is also applied to Eclíptica4, but here, accordion and piano occupy the bulk of the acoustic space, cast against a prominent drum pattern, yet, as the latter fades out, Latorre finds himself amidst a dense cloud of statics and distorted noises, which is echoed on the opening moments of Ban Ge Yue Liang which follows as a very similar urban hum to that found on Eclíptica2 serves as textured backdrop for piano and voice; Latorre is a hesitant vocalist, his tone balancing dangerously to add to the fragile aspect of the piece.

This is not the only place where Latorre adds voice to the music. On Si El Sol No Caliente, he weaves an almost prayer-like monotone incantation over a single drone, and if his performance is slightly more coloured on Eclíptica8, his tone remains extremely intimate, feeling at times as if he was whispering straight into the listener’s ear.

With Eclíptica, Santiago Latorre has moved into much more introspective and emotional terrains, and his widened sonic palette actually allows him to trim down his delivery to its bear essential. The album was recorded whilst Latorre was traveling through Taiwan with aim to reconnect with his inner self, and this introspective quest for peace and equilibrium filters through ever section of this very personal and poignant record.

4.2/5

Santiago Latorre | Accretions Records
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ERIC GLICK RIEMAN
In My Mind, Her Image Was Reversed
ALP053CD
Accretions Records 2011
06 Tracks. 56mins15secs

Berkley, CA-based experimental musician Eric Glick Rieman works with a specially adapted Rhodes electric piano, which has had its cover removed to expose the tines and transistors which are key to the instrument’s sound so he can operate them directly with his hands, mallets or anything else he can think off. Additionally, the instrument is fitted with extended sound boards upon which are placed zinc rods, which can be bowed or hit. A keen improviser, Glick Rieman released his first album of prepared electric piano, Ten To The Googolplex, on Accretions ten years ago, and went on to form the DalabaFrithGlickRiemanKihlstedt quartet two years later. His second solo effort, Lung Tree, was published on ReR in 2005. In My Mind, Her Image Was Reversed follows Eric Glick Rieman’s Trilogy From The Outside set of releases, published on Water Goes Into Air last year and sees him return to Accretions.

Recorded entirely with a prepared Rhodes 73 Stage Piano in the Sangre de Cristo mountains in New Mexico, this album expends greatly on the standard aspect of the instrument by introducing an almost infinite palette of sounds and noises, from miniature percussive tones and loops to brushed paper, fingers hitting keys or coarse sonic components. While possibly an interesting visual addition to a live performance, what exactly triggers these sounds or how they actually materialise is pretty irrelevant to the resulting soundtrack here. Of course, the use of a particular type of washer or a very specific type of quartz, as is the case here, may be intrinsic to a singular sound or texture, but the fabric of these improvisation is so rich and enchanting that it become the sole aspect worthy of attention.

Glick Rieman creates here a series of intricate structures which revolve around miniature sonic formations and extremely delicate fragments of melody. These appear to forever cluster into minimalist configurations and never settle for very long. In the space of just a few minutes, Glick Rieman manages to create a dreamy world and make it develop and flourish before moving on, starting from scratch again. These are not necessarily entirely disconnected from each other however. The particles of texture and music which form much of the epic twenty-minute Reiterated, Opinion Changes Meaning are echoed on the delicate flowing theme of the title track further down, while What’s Said, Reinterpreted By Future Hearers and Reinventing Belief share a very similar sense of empty space and how their respective components are placed in relation to it, and, as The Past, Aerated opens, the machine-like shuffle of its opening sequence appears to expend on the enigmatic soundscape heard on Transmigrating Flock Of Beliefs.

By adding self-referenced points, Eric Glick Rieman blurs the overall outlines of these six improvisations and confuses his audience enough to give this record a dreamy feel. Music often takes a back step here as he focuses on creating convincing soundscapes, but elements of melody regularly bubble up to the surface to remind the listener that Glick Rieman is before all a musician, albeit one with a very singular vision.

4.2/5

Eric Glick Rieman (MySpace) | Accretions Records

SLUMGUM
Quardboard Flavored Fibre
ALP052CD
Accretions Records 2011
11 Tracks. 56mins25secs

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Los Angeles-based quartet Slumgum, which comprises Jon Armstrong (tenor sax, clarinet), Rory Cowal (piano, Rhodes), Dave Tranchina (bass, clothespins) and Trevor Anderies (drums), first appeared over three years ago with a self-titled album, published on their own imprint, but the band had been honing their style by performing live for some time prior to this, seamlessly blending composed and improvised work. While their primary concern is as a jazz formation, Slumgum’s music also finds some roots in classical music, especially through Cowal’s fluid and elegant piano playing, and on occasions, world music.

With their new album, Slumgum create an intricate mesh of vibrant acoustic sounds, woven into pieces which are at times dense and full of energy (Big Fun (New Ruckus), the mid section of Eshu’s Trick, some parts of the title track or the latter part of Big Fun (Buzz Saw Flower Blossom)), at others much more refined (Big Fun (Running In A Dream), Afternoon, Puce Over Pumpkin With A Hint Of Lime). What is consistent throughout however is their clever use of space, and how instruments continually interact with each other. Never at any point is there a feeling of one instrument leading the others, but equally, there is a strong sense of order and direction running through this record. While this is not uncommon in jazz formations, especially those favoring an improvisation approach, it contributes greatly to the coherence of this record. Slumgum have been performing together for some time, and this level of experience can be heard in how respectful of each other’s space they are. Expectedly, drums and bass provide the backbone for the majority of the tracks, and they serve that purpose with confidence, but they are neither driving these tracks nor finding themselves relegated to the back. Instead, their respective positions are integrant part of the overall narrative deployed here. The same goes for piano and sax, which draw some impressionist motifs on Big Fun (Running In A Dream) or Big Fun (Street Puddle Rainbow), appear particularly sharp and dreamy on Afternoon or find themselves locked in playful exchanges in the opening minute of Puce Over Pumpkin. They undoubtedly work together to provide the logical counterpoint to the rhythm section, but this album is above all the result of four musicians working together toward a common goal.

This is further emphasised by the fact that each musician contributes at least one track to the record, two for Anderies and Tranchina, but this never appears to alter the dynamic of the music, to the point where the title track, credited to Armstrong, provides Cowal with his most elaborate and spread-out performance of the whole record. And when the quartet share compositional duties on five of the shorter Big Fun pieces, they demonstrate just how extensive their range is, from the almost rock slant of New Ruckus to the peaceful and ethereal Natural Liberation to the more contrasted and experimental Buzz Saw Flower Blossom and The Bellows.

Quardboard Flavored Fibre is a pretty impressive piece of work all round. Feeling at times pretty classic in its format, yet infused with very contemporary energy and vision, it is at once fresh and imaginative, and is yet another fine addition of the Accretions catalogue.

4.2/5

Slumgum | Slumgum (MySpace) | Accretions Records
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VARIOUS ARTISTS
25 – Celebrating 25 Years Of Sonic Explorations
ALP050
Accretions Records 2011
12 Tracks. 58mins39secs

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Summing up twenty five years in twelve tracks is totally inconceivable, and is in no way the aim of this compilation. What 25 does however is offer a fascinating overview of what the focus of California-based imprint Accretions continues to be, from contemporary jazz to outwardly exploratory work.

Launched in 1985 as an arts and culture magazine, and again a year later as a record label, Accretions has since found itself at the forefront of contemporary experimental music, with a particular affinity for jazz and improv. The label is home to a variety of artists and formations from the likes of musician and filmmaker Hans Fjellestad, percussionist and composer Nathan Hubbard, guitarist Bill Horist or multi-instrumentist Eric Glick Rieman to bands such as Burning Bridges, Donkey, the Trummerflora collective or, more recently Dawn Of Midi or Axis Trio.

Far from being an exhaustive collection, 25 however gathers a particularly vast array of genres and styles. The album opens with the textured input from Damon Holzborn, Intro, on which he plays both electric guitar and synths. Later on, Bill Horist offers a very different angle on The Psoriasis Coast as he layers guitar distortions and feedback to create a somewhat disconcerting piece. Donkey, the duo formed of Hans Fjellestad and Damon Holzborn, who collaborate here with Marcos Fernandes, distill a highly distorted and corrosive piece with Jazzorca En Vivo, as they assemble electronics into a series of miniature noisy structures. Equally, Synchronous Aether sees saxophonist Jason Robinson purposely deconstructing sax phrases and shredding them until there is virtually nothing left. He his joined in the second half of the piece by trombone player Michael Dessen, for a further moment of intense abstraction. Perhaps not quite as distorted, Marcelo Radulovich’s Circumambulating is nevertheless an offbeat piece which, wouldn’t it be for its highly processed backdrop, could very well pass for a drunken sailor’s song.

At the other end of the scale, Dawn Of Midi’s The Far Seam is a gentle jazz piece which, although focused mainly around Amino Belyamani’s light and confident piano, builds on the trio’s superb chemistry, while Hans Fjellestad delivers with The Keeper a colourful and contrasted beat-heavy piece.

Haco’s Much Much More is a much more (no pun intended) minimal composition, which opens with a poetic glockenspiel sequence, but, following a brief solo sax interlude, is soon replaced by a hypnotic tap rhythmic pattern sampled from animated movie Happy Feet, while a series of distant soundscapes continuously take shape in the background. While quite a dubious sound source, the rhythmic section actually works surprisingly well here. Eric Glick Rieman’s contribution is even barer. Playing on a prepared and modified Rhodes electric piano, he weaves a wonderfully serene melody, at times sounding somewhat oriental in both tone and structure, which he continuously offsets as to appear slightly out of synch with itself. Later on, Marcos Fernandes and Nathan Hubbard deliver two textural pieces, but their respective approach is radically different. While the former uses field recordings to constructs quite a complex sonic canvas, the latter processes live drums to create something which sounds like a recording of the inside of an alien piece of machinery. Closing the album is Spanish saxophonist and sound artist Santiago Latorre, whose beautiful improvisation, suitably entitled Solo, makes exquisite use of his live sound processing, progressively turning the sounds from his instrument into a dense soundscape.

Neither a retrospective nor a comprehensive overview, 25 nevertheless captures the essence of Accretions’ excellent catalogue by simply letting some of the label’s artists do what they do best: experiment with sounds and textures. There could be no better introduction to a label sadly all too often overlooked.

4.5/5

Accretions Records
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JASON ROBINSON
Cerberus Reigning
ALP51
Accretions Records 2010
16 Tracks. 61mins13secs

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Californian-born jazz saxophonist Jason Robinson may have over the years played with a wide range of formations, both as a member and leader, but he has in recent years started to look beyond the realms of jazz to experiment with electro-acoustic performance, using his instrument both in its primary capacity and as a source of sounds which he processes live on computer.

Released a year and a half after Cerberus Rising (Circumvention Music), Cerberus Reigning sees Robinson step away from the bare improvised minimal forms of its predecessor to broaden his scope quite considerably. Here, although the tenor sax is still very much at the core of the record, Robinson adds a soprano sax and an alto flute, and processes his sources much more heavily throughout. Looped, smeared in effects and textured, the instruments become schizophrenic, appearing in a multitude of forms, at once musical devices and source of noise, distortions and textures. Things start pretty neatly on Broken Seals with a single sax motif, but as Robinson reaches a low note, it suddenly fluffs up and becomes a long resonating drone. As the track progresses, a new phrase develops, at first drowned in reverb, then brought into much sharper focus. Syrynx At The Edge Of Nightfall complicates the matter further by distorting a steady loop until it loses its identity and ends up sounding like a bubbling bath. The process is repeated over and over, a new sequence starting as the previous one is disintegrating, until it is eventually thrown off course, allowing a gentle melody to rise above it for a moment.

This tight correlation between acoustic instruments and treated sounds continues to develop throughout, the divide at times appearing very distinctly, at others feeling much fuzzier, to the point where is it sometimes difficult to know exactly where the acoustic stops and the processed starts. In fact, as he layers his performance, it is as if Robinson was taking a perverse pleasure in confusing his audience. This is particularly the case of the three tracks subtitled Synchronous Aether. Referring to a software developed by Robinson which, as he explains in the liner notes, ‘“listens” to the performer, “decides” when and how to sample the performer, then “decides”to play back the samples with or without effects’. This seemingly random operation creates an additional level of unpredictability in the music, but Robinson cultivates the doubt on what exactly is happening on a number of other pieces, whether it is on the disturbingly sombre The Inner Wave, hectic Serpentine Gaze or Some Shall Fall, the latter lasting barely forty seconds, or the rather subtle and melodic title track.

Elsewhere, the distinction between live and mechanical components is clearer. The textured phrases of Stillness Shattered may be distorted, but they appear very real. Equally, the lines of Among Goliaths may burst out in all sorts of directions, but there is very little doubt about their origin, while the simmering electronics of Rising Tide For Humanity provide a somewhat ominous platform for a recurring acoustic motif.

With Cerberus Reigning, Jason Robinson moves on rather notably from its predecessor, as he brings in electo-acoustic treatments and practices. This results in quite a fascinating journey where anything can, and often does, happen. While it demands to pay attention to fully understand its many layers, this album also proves a rewarding challenge when it begins to reveal its many intricacies.

4.4/5

Jason Robinson | Jason Robinson (MySpace) | Accretions Records
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AXIS TRIO
Anthem
ALP049CD
Accretions Records 2010
11 Tracks. 59mins30secs

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The cover of Axis Trio’s second album shows a complex set of geometrical shapes arranged in interconnecting symmetrical patterns, highlighting the origins of the three members of Axis Trio. Formed of Moroccan pianist Amino Belyamani, Iranian American bassist Sam Minaie and Pakistani American drummer Qasim Naqvi, also a member with another fine jazz ensemble, Dawn Of Midi, who released their debut album, First, earlier in the year, Axis Trio first appeared two years ago with The Hand, an album released on SNP Records, and have, over the years, performed alongside some of the finest names on the jazz scene. As a formation, they operate on a primarily acoustic template, but their sound, like the intricate patterns of the cover of this album, is more complex than may appear at first.

Having joined the ranks of Accretions Records as the label celebrates its twenty-fifth anniversary, Axis Trio have created with Anthem an endearing piece of modern free-flowing jazz, powered by a strong rhythmic section and brought to life by fluid piano swathes. While the three members of the band all share strong Middle Eastern connections, their music doesn’t actually feed on this cultural heritage. Instead, they name John Coltrane, Shostakovich or Aphex Twin amongst their influences, channeled into beautiful compositions where no particular instrument occupies a more privileged position than the others.

While the piano draws exquisite motifs throughout, in turn cascading into rich arpeggios (L’Enfant Symptôme, …Then It Walked), or developing into light rippling melodies (When The Curd Meets The Rennet, Whey It Out, Immortality), the bass and drums work closely together to provide wonderful counterpoints, control the force and delivery of a groove or challenge the position of the piano. While The Hand was entirely acoustic, Axis are incorporating some electronics here, but they do so through such delicate touches that they can often go unnoticed, until repeat listens brings them into focus. There are evidences of this right from the opening seconds of, and throughout, When The Curd Meets The Rennet, while distorted noises are splattered over the opening sequence of Eh-Che-Ka or Leap Toward, which also see Minaie tearing apart a saturated cello part. On It Shall Ripen, Belyamani expands the acoustic reach of his instrument by adding brushes of prepared piano, creating a slightly dissonant flip-side to the main piano theme, while on …Then It Walked, it is Naqvi who supplements his set with metallic percussive components to create a rich layer reminiscent at times of Thomas Strønen. It is only on closing track The Hand That Feeds that the balance between acoustic and electronics shifts drastically towards the latter as the trio explore a much funkier rhythmic settings and apply increasingly dense and textured soundscapes and treated acoustics as the piece goes through a series of radically different sections.

The strength of the trio resides in how they cleverly position each of the instruments and sounds used according to the tone they intend for a piece, and how this continuously changes, even through a piece, to reveal new facets of the music as the album progresses. Anthem is the confident work of a formation whose level of maturity shows that they ready to take on new challenges.

4.2/5

Axis Trio | Axis Trio (MySpace) | Accretions Records
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DAWN OF MIDI
First
ALP048CD
Accretions Records 2010
10 Tracks. 52mins20secs

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Unlike what their chosen name could lead to think, experimental jazz formation Dawn Of Midi operate an entirely acoustic policy. Formed of Pakistani percussionist Qasim Naqvi, Indian contrabassist Aakaash Israni and Moroccan pianist Amino Belyamani, the trio, based between Paris and New York, create with their debut album, released on Accretions, a particularly vibrant and contrasted piece of work, during which they constantly move from shaded to open terrains and back.

Totally improvised and left untouched, with no overdubs to cloud the result, First seems to explode in a variety of directions at first, giving it a kaleidoscopic feel, but repeat listens reveal a tighter focus, away from gimmicks and stylistic effects. While the trio reference classic jazz forms all the way through, they do it with a vision that gives them much freedom and allows them to explore the full range of their collaborative work.

Israni’s warm and precise bass playing and Naqvi’s often restrained and delicate drumming provide a refined rhythmic backdrop for Belyamani to populate with intricate piano motifs, with occasional addition of prepared piano textures, and while his contribution is often placed slightly to the front of the mix, he never actually takes on the position of leader. Instead, the clear repartition of tasks and the chemistry between the three musicians never calls for any of them to conduct the performance, leaving them with no other concern than the music itself. This serves the record extremely well, each musician contributing to the overall fluidity of the improvisations while never seeking to outshine the others. Their music, while at times angular and arduous, remains surprisingly melodic and fresh, and unusually accessible for a work of this calibre.

This is particularly the case on the crisp Civilization Of Mud And Ember, with its wonderfully bright and lively cascading piano lines, which occasionally hint at classical music, or on the more subdued Tales Of Two Worlds or No Abhor. The trio are equally at ease when they hit more fragmented or restricted melodies, as they do on The Floor, Hindu Pedagogy or Annex for instance. Here, they develop a different approach, where sounds become more critical and central. Everything, from Belyamani’s plucked piano strings or solitary notes, left in the mix as if in suspension, to Israni’s syncopated phrases or Naqvi’s powerful yet delicate rhythmic touches, contribute to the overall balance of the record. This synergy between all three musicians is perhaps highlighted best on the eleven-minute closing piece In Between, where the varying intensity of a somewhat minimal piano sequence is echoed by the drums throughout, while the bass circles around it with discreet touches.

A key to improvised music is the ability to listen to each other and act accordingly, and it is definitely something Qasim Naqvi, Aakaash Israni and Amino Belyamani have mastered. Channelling the strength of three very gifted musicians into a series of hypnotic pieces, First is a terrifically successful and enchanting debut release from Dawn Of Midi, and one that shows improvised music at its most fascinating.

4.7/5

Dawn Of Midi | Accretions
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SANTIAGO LATORRE
Órbita
ALP047
Accretions Records 2009
09 Tracks. 46mins14secs

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Barcelona born and bred Santiago Latorre began playing the saxophone at eleven, but it is not until he developed an interest for electronic music, some years later, that he became involved in sonic experimentation. Since, he has composed music for various dance, theatre, fashion and videos projects. In 2005, Latorre also began working on his own solo project, which is collected on his debut album, Órbita, released on San Diego, CA, based imprint Accretions Records.

Using both saxophone and electronics as a basis for his compositions, upon which he also adds accordion, piano, and, occasionally, voice, to create delicately layered pieces, Latorre has created with his debut album a highly personal work. Not truly rooted in experimental jazz, yet never veering far from it, Órbita offers moments where Latorre experiments freely, as on album opener Canon, where multiple instances of saxophone swirl around each other to create an increasingly dense and hypnotic theme, or Le Sobrevive, Le Sobrevive A Toda La Frialdad, where Latorre continuously repeats the title of the piece while two, then three distinct saxophone motifs flourish in the backdrop. On Despedida, Latorre plays with loops sequences and repetition, progressively gathering layers as the track progresses, rising from nothing but specs of noise to dense clusters of sax, while treated electronics are left bubbling in the back.

Elsewhere, the experimentation is reigned in to let more straightforward pieces provided breathing spaces. The title track, with its cheap Casiotone backdrop and gentle melody, played first on sax alone, then on both sax and accordion, appears curiously out of touch with pretty much the rest of the record, but later, when Latorre dispenses the peaceful and warm Viajando En Rosa, there is no doubt left that this album can accommodate both trends without causing much contradiction.

While the album was recorded in just a few months, back in the first half of 2006, it has taken until now for Latorre to release it. Órbita occasionally suffers from a slight lack of focus, but it remains a rather lovely record, its creative angles often generating some truly sumptuous moments, well worth giving it more than a passing chance.

3.6/5

Santiago Latorre | Accretions Records
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