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Úvodní stránka » GREAT BOOK TAIS AWARDS » Ingrid Laubrock Anti–House
Ingrid Laubrock Anti–House
Roulette of the Cradle (2015)

Ingrid Laubrock Anti–House — Roulette of the Cradle (29 Jun. 2015)

Ingrid Laubrock Anti–House Roulette of the Cradle Ingrid Laubrock Anti–House — Roulette of the Cradle (29 Jun. 2015)°   Dynamics ebb and flow from track to track and often within a single piece. Group improvisation sits on equal footing with composition. Many of the pieces find the players working in pairs and trios, one entering gently while others provide background color. While Laubrock calls the shots, her bandmates often get more spotlight time than she does. However, on the penultimate track, “From Farm Girl to Fabulous, Vol II,” she cuts loose, blasting staccato figures against the rhythm section, climaxing with Ayler–esque wails and delicious overtones. One part modern chamber music, one part radical jazz, Roulette of the Cradle is action–packed even during its quietest moments.
°    ‘playing the game.’
Born: September 24, 1970
Location: New York
Styles: Modern Jazz
Album release: 29 Jun. 2015
Record Label: Intakt Records
01 Thats’s All She Wrote
02 Roulette of the Cradle
03 Face the Piper, Part1
04 Face the Piper, Part 2
05 Silence... (for Monika)
06 ...and Light (for Izumi)
07 From Farm Girl to Fabulous, Vol.II
08 Red Hook
°   Ingrid Laubrock: tenor & soprano saxophones;
°   Mary Halvorson: guitar;
°   Kris Davis: piano;
°   John Hébert: bass;
°   Tom Rainey: drums;
°   Oscar Noriega: clarinet (5, 6).
°   All compositions by Ingrid Laubrock (PRS). Recorded on December 5, 2014, at Systems Two, Brooklyn by Joe Marciano, assistant engineer Max Ross.
°   Mixed and mastered by Liberty Ellman, February 2015.
°   Liner notes: Bert Noglik.
°   Cover art: Malene Bach.
°   Photos: Cees van de Ven, Michelle Ettlin.
°   Graphic design: Jonas Schoder.
°   Produced by Ingrid Laubrock and Intakt Records, Patrik Landolt. Published by Intakt Records
By JOHN SHARPE, Published: July 31, 2015 / Score: *****
°   The fact that Ingrid Laubrock’s Anti–house is an established working band is borne out by the degree of trust the German saxophonist places in her world class cast of collaborators. But even though she doesn’t put in an appearance until part way through the second track, her imprint is all over the outfit’s third release, which builds confidently on the success of its predecessors; the first outing of the same name (Intakt, 2010) and Strong Place (Intakt, 2013). Laubrock has confirmed herself as a significant presence on the NYC scene, through both sidewoman dates, of which her tenure with Anthony Braxton is only the most illustrious, or participation in vital collective endeavors such as Paradoxical Frog’s Union (Clean Feed, 2012) and LARK’s eponymous debut (Skirl, 2013).
°   Laubrock favors an opaque compositional style whereby the framework isn’t apparent but the sense of organization nonetheless is. That’s well illustrated by the title cut in which rhythm, notated material and improvisational space zips around the band like a Ritalin fuelled game of pass the parcel. Laubrock often pitches one part of the group against another as in the nervy “Face the Piper, Part 2” where a feature for Mary Halvorson’s wiry guitar, in tandem with the superlative team of drummer Tom Rainey and bassist John Hébert, is goosed by the interjections of the leader’s soprano saxophone and pianist Kris Davis. Or “Silence ... (for Monika)” where guitar and chimes alternate with bass and piano, before guest Oscar Noriega’s clarinet sketches a poignant air.
°   As must be obvious from even those short descriptions, a blowing vehicle this ain’t. “That’s All She Wrote” is just the most stark example of this trait, as Rainey’s introductory heart beat tattoo gives way to first spidery then raucous guitar, which is finally accompanied by Davis’ crashing piano clusters. Such design and partitioning serves to emphasize the orchestral approach Laubrock takes to the resources at her disposal. She similarly deploys Noriega in an artfully precise manner, as he briefly intertwines with her tenor saxophone on ... “ and Light (for Izumi)” before spiraling interplay with Halvorson’s insistent tremolo.
°   Any solos tend to be concise and fully integrated into the fabric of the music. Davis’ most expansive work can be heard on the involved title track, introduced by her minimalist plink plonk, before she adds dashing runs and hyperactive lines which slip in and out of unison with Halvorson’s guitar. Laubrock is at her most expressive on the edgy “From Farm Girl to Fabulous, Vol. II” where a rocky guitar driven passage prompts her into gritty tenor saxophone skronk. Each cut abounds with abrupt switches in mood and tone delivered with such aplomb and invention that rather than seeming forced, the changes take on an aura of inevitability. Such richness means that there is delight to be found in close attention to the detail and each encounter reveals more of the underpinning without completely explaining the magic.
°   http://www.allaboutjazz.com/
Website: http://ingridlaubrock.com/anti-house-/-roulette-of-the-cradle.html
Bandcamp: http://intaktrec.bandcamp.com/album/roulette-of-the-cradle 

Ingrid Laubrock Anti–House
Roulette of the Cradle (2015)


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