Sam Gendel — Satin Doll (13 March, 2020)US flag          Sam Gendel — Satin Doll (13 March, 2020) Sam Gendel — Satin Doll (13 March, 2020)
•★•   Kauterizovaný [•★•], spící nový jazyk pro saxofon. Avantgardní průkopník tlačí loď do slavných extrémů se svými téměř nepoznatelnými covery jazzových standardů. Sam Gendel Concert Group uvádí Sam Gendel na saxofon a další věci, Gabe Noel na elektrické basy a Philippe Melanson na elektronické bicí nástroje. Tyto skladby jsou představeními 3 lidí, nikoli produkcí; téměř veškerá hudba byla nahrána při jedné nebo dvou nahrávacích frekvencích.
Location: Los Angeles, California
Album release: 13 March, 2020
Record Label: Nonesuch
Duration:     44:41
01 Afro Blue   3:16
02 Saxofone Funeral   3:55
03 Satin Doll   3:46
04 Goodbye Pork Pie Hat   4:06
05 Stardust   4:25
06 The Theem   3:15
07 O Ovo   2:37
08 Cold Duck Time   4:59
09 Freddie Freeloader   2:37
10 Glide Mode   3:54
11 In a Sentimental Mood   3:39
12 Love Theme from Spartacus   3:10
13 SXFN FNRL   1:02
•★•   Kauterizace je označení pro proces zcelování ran pálením (elektrokauterizace, elektrokoagulace) nebo pro proces destrukce tkáně pomocí nízkých teplot (kryokauterizace).
•★•   V minulosti se kauterizace používala k zastavení krvácení při amputacích. K výkonu se používal nažhavený kus železa, který se přikládal ke krvácející tkáni. V dnešní době se kauterizace vykonává pomocí elektrického proudu (elektrokauterizace) či pomocí chemikálií. Tento postup se používá při častém krvácení (epistaxi) z dutiny nosní. Procedura se pro vysokou bolestivost provádí při lokálním umrtvení tkáně.
Ammar Kalia, Fri 13 Mar 2020 10.00 GMT. Score: ★★★★ 
•★•   Sam Gendel plays like a man trying to erase his instrument. The Californian saxophonist — perhaps best~known for his thoughtful collaborations with Moses Sumney and bassist Sam Wilkes — has long been honing slippery improvisations, pitch~bending his harmonies and sliding over rhythms. His latest LP, Satin Doll, is his most fully formed yet and pushes this experimentation to its furthest extreme, his sax sounding like melting wax on his 13 cover versions of jazz standards.
•★•   The reinterpretation of the standard has long been a key part of jazz’s thirst for reinvention, yet Satin Doll will likely make many purists squirm. Processed and synthesised, Gendel’s sax veers between a vocoder voice and electronic strings: tender like a metallic lullaby on Lester Young’s Stardust, polyglottal and choral on Afro Blue.
•★•   The original melodies and movements of these standards can seem buried so far beneath Gendel’s production as to be unrecognisable, but this is the beauty of his work. Recorded live over three days, much like foundational Blue Note or Impulse sessions, Gendel manages to find an entirely new language for his saxophone. His breath is carried into the helter~skelter keys of Latin~jazz number O Ovo, merging with the clave rhythm, and passes through like fistfuls of sand on Miles Davis’s Freddie Freeloader.
•★•   Originality lies in the messiness of this new vocabulary — in overheard glimpses of garbled vocals on Glide Mode or in snatches of white noise on Love Theme from Spartacus. Like any new expression, his words may not always be intelligible — but his meaning is deeply felt.
Sam Gendel’s Nonesuch debut album, Satin Doll, is a futuristic homage to historical jazz, a sonic construction/deconstruction of well~known jazz standards, including Miles Davis’s “Freddie Freeloader,” Charles Mingus’s “Goodbye Pork Pie Hat,” and Duke Ellington’s “Satin Doll.” “A woozy, blissfully twisted album,” says the Los Angeles Times.
•★•   Recorded in Gendel’s native California, Satin Doll is a futuristic homage to historical jazz. The album features three musicians — Gendel on saxophone, Gabe Noel on electric bass, and Philippe Melanson on electronic percussion — engaging in simultaneous synchronized sonic construction/deconstruction of jazz standards. 
•★•   “The avant~garde trailblazer pushes the boat out to glorious extremes,” says the Guardian’s four~star review. “Satin Doll is his most fully formed album yet and pushes this experimentation to its furthest extreme, his sax sounding like melting wax. The original melodies and movements of these standards can seem buried so far beneath Gendel’s production as to be unrecognisable, but this is the beauty of his work. A searing new language for sax.”
•★•   “Satin Doll deconstructs jazz standards in a woozy crunk of dense electronic synthwave dreamscapes,” says London Jazz News. “A lush and complex sonic experience.”
•★•   “Sam Gendel plays like a student at the altar of spiritual jazz,” says Pitchfork. “His songs are just a little too psychedelic to sit in the contemporary jazz section, but his music is as studied and controlled as his counterparts in post~bop.” “In the spirit of Miles Davis or late~career John Coltrane,” says Fader, “Gendel aspires to a transcendent form of jazz.” KCRW says: “Sam Gendel makes poetry in musical motion [and] speaks to our time and beyond.”
•★•   Sam Gendel is a musician and producer living in Los Angeles, CA. He is most known for his work with the saxophone, though he is proficient on multiple instruments. His work is diverse and includes significant collaborations with a wide range of artists including Ry Cooder, Blake Mills, Sam Amidon, Perfume Genius, Moses Sumney, Knower, Vampire Weekend, and inc. no world. Gendel's previous discography includes the critically praised Music for Saxofone & Bass Guitar with bassist Sam Wilkes and 4444.