#Ingrid Laubrock

[musicollage]

Ingrid Laubrock Anti-House — Strong Place. 2013 : Intakt.

! enjoy the album ★ donate a coffee !

[zef-zef]

Ingrid Laubrock at Artacts 2013 in St.Johann, Austria

source: pinterest 📸: Ziga Koritnik

[donospl]

Europe Jazz Media Chart - Wrzesień 2024

Wybór nowości muzycznych, dokonany przez grupę czołowych europejskich magazynów i witryn jazzowych. A selection of the hot new music surfacing across the continent by the top European jazz magazines and websites. Norma Winstone & Kit Downes Outpost of Dreams (ECM) Krzysztof Komorek, Donos kulturalny, Polska Norma Winstone & Kit Downes Outpost of Dreams (ECM) Axel Stinshoff, JazzThing,…

[dustedmagazine]

Cecilia Lopez and Ingrid Laubrock — Maromas (Relative Pitch)

Freedom so often arrives with the magnetic precision of stealth, a small stone in a hailstorm or a knowing word between friends. Maromas, the new collaboration between saxophonist Ingrid Laubrock and synthesist Cecilia Lopez, often functions in that communicative sphere, as is the case at 1:43 of “Sentient Pipes.” It all begins as simply as Laubrock accenting one note in a phrase and Lopez emitting a similar pitch. That tone is bandied about like a tennis ball or a beloved phrase, and it’s difficult to tell if Lopez grabbed and modified it or if it was generated in some other synchronous way. Both artists then expand it outward, building rose-petal-fragile but crystal-clear counterpoint from those tiny dialogic pointillisms.

The disc brims and bristles with similar moments. “A la vuelta de Greenwich” begins with the grinding of what sounds like processed  soprano saxophone which then dips and dives forward with Lopez’s response, delivered in swooping curves. It’s so tempting to pull a Hendrix or Prince sonic reference or two out of Laubrock’s quasi-linear distorto-shredding, but her playing is equally atomistic, evident as “Fabulations” stutters onward. The collaborators occupy an entirely different space in “Don’t Believe It”’s murky opening drones, shards and atoms replaced by sustains while the minuscule elements of microtone and breath vanguard themselves with startling clarity. Each overtone and harmonic bubbles to the surface of a brew equal parts spice and strength and garnished with amplified attacks and piquant saxophone scales at an almost tender volume.

It would be difficult to imagine a more symbiotic approach to duetting. The players’ respective sound pallets are remarkably close, unnervingly integrated in terms of articulation and sonic envelope. If the opening conglomerate of “I Don’t See It” doesn’t convince, as it inhabits a shuddering world of rhythmic ambiguity even as pitches swirl in and out of distorted focus, nothing will. Best of all though, the sounds are all but bone-dry. So many electroacoustic collaborations rely far too heavily on reverb and delay, presumably to enhance repetition. They travel down long corridors of memory, their edges and intimacies obscured to the point of ineffectuality. Laubrock and Lopez confidently square each gesture against a backdrop of something that isn’t really silence but often threatens to be. Each musician’s prickly and mellifluous spontaneities hit the ear with a stunning directness that adds to their musicality and allows all of that precious counterpoint to be heard. Repeated audition shows the moments of freedom to be components of a larger and wonderfully formed dialogue fashioned of concise and adventurous interactions, each moment a kind of aphoristic poetry in sound as direct as it is poignant.

Marc Medwin 

[diyeipetea]

Satoko Fujii: Hyaku One Hundred Dreams (Libra Records, 2022) Por Pachi Tapiz [Grabación de jazz]

Satoko Fujii: Hyaku One Hundred Dreams (Libra Records, 2022) Por Pachi Tapiz [Grabación de jazz]

Satoko Fujii: Hyaku One Hundred Dreams (Libra Records, 2022) Las celebraciones de la pianista Satoko Fujii siempre han sido memorables. El año en que cumplió 50 años, lo celebró publicando media docena de grabaciones. Al llegar a los 60 fueron doce: cada uno de los meses de ese año publicó un nuevo disco. En 2022 publica su grabación número 100 (hyaku en japonés), y con tal motivo publica Hyaku…

[thoregil]

2022-09-30 Brandon Lopez / Ingrid Laubrock / Tom Rainey - Fri resonans, Dokkhuset

2022-09-30 Brandon Lopez / Ingrid Laubrock / Tom Rainey – Fri resonans, Dokkhuset

[voskhozhdeniye]

Coin Coin Chapter Five: In the garden… is the latest instalment in composer, improviser, saxophonist, bandleader and visual artist Matana Roberts’ visionary project exploring African-American history through ancestry, archive and place. Weaving together elements of jazz, avant-garde composition, folk and spoken word, Roberts tells the story of a woman in their ancestral line, who died following complications from an illegal abortion. At a time when reproductive rights are under attack, her story takes on new resonance. “I wanted to talk about this issue, but in a way where she gets some sense of liberation,” Roberts explains. By unpacking family stories and conducting extensive research in US public archives, Roberts has created a rounded portrait of a woman who is, as their lyrics put it, “electric, alive, spirited, fire and free.” Each part of Coin Coin explores radically different musical settings, from the free jazz and post-rock eruptions of Chapter One to the solo noise collage of Chapter Three. Featuring a new ensemble steeped in jazz, improvisation, new music and avant-rock, helping to expand the project’s existing sonic palette, Chapter Five is no exception. Roberts is joined by fellow alto saxophonist Darius Jones, violinist Mazz Swift (Silkroad Ensemble, D’Angelo), bass clarinettist Stuart Bogie (TV On The Radio, Antibalas), alto clarinettist Matt Lavelle (Eye Contact, Sumari), pianist Cory Smythe (Ingrid Laubrock, Anthony Braxton), vocalist/actor Gitanjali Jain and percussionists Ryan Sawyer (Thurston Moore, Nate Wooley) and Mike Pride (Pulverize The Sound, MDC). The late, great trumpeter jaimie branch, who was due to play on the album, receives a credit for “courage”. The album is produced by TV On The Radio’s Kyp Malone, who also contributes synths. As a composer, Roberts draws upon strategies associated with the post-war avant-garde, including John Cage and Fluxus member Benjamin Patterson’s conceptual approaches to scoring and performance. The immersive work of Maryanne Amacher, in which “sound and the body almost collaborate” is another key influence. “That is the foundation for me of the Coin Coin work,” they explain. “It’s not just the alto saxophone as an instrument placed in the jazz canon, it's the alto saxophone as an instrument that can be utilised to affect the body.” Listeners will be struck by Roberts’ ability to mould diverse sounds into a cohesive whole. The spoken word passages are accompanied by driving modal jazz on “how prophetic”, minimalist synth loops on “enthralled not by her curious blend” and cantering folk forms on “(a)way is not an option”. These are interspersed with instrumental pieces that range from avant-garde abstraction and squalling free jazz, to solo saxophone reflections and Mississippi fife and drums blues. There’s a further evocation of American roots music in the powerful group vocal arrangement of “but I never heard a sound so long”, adapted by Roberts from the plantation lullaby “All The Pretty Horses.” While this new chapter of Coin Coin focusses on a female-identified protagonist, others haven’t (Chapter Three being from the perspective of a male ancestor) and Roberts intends for future chapters to continue to cover the breadth of the gender spectrum, as well as their Native American heritage. “I'm proud that people say that the Coin Coin work speaks of a woman's story. But I want to make sure that it retains its inclusivity, because what we look like is not always what you see.” This reflects Roberts’ own experiences as a queer person of colour. For the remaining chapters of Coin Coin, Roberts will continue exploring identity and ancestry. “Expect it to keep heading towards a liberation of the human spirit.”  

[bearsuitrecords]

Bearsuit Record's Harold Nono has done a 30 minute mix for "Signal To Noise" on Slack City Radio/Totally Radio

Tracklist:

1. Heads & Crocodiles - Laura Sampson and Sam Enthoven

2. Vegetable Soup - S. Hollis Mickey and David Velez

3. Decimated Wrists - Distraxi

Harold Nono Mix:

4. Gorgon Madonna - Yugen Blakrok

5. Ottepel - Kot Kot

6. De Profundis - Sofia Gubaidulina

7. Dark Wish (To Per Henrik Wallin) - The End

8. Blame Me - L'Rain

9. Little Lambs - Gazelle Twin

10. Secret Mobilization - Deerhoof

11. Comma (Excerpt) - Christine Ott

12. SPIDER LEADERSHIP - BLACKCLOUDSUMMONER

13. Aquarium - Rabeca

14. Flower is a Lovesome Thing - Ella Zirina

15. Looking - Adriana Wagner

16. Allegro ma non troppo - DominaPetra

17. Don't Believe It - Ingrid Laubrock

18. Heads & Crocodiles (Excerpt) - Laura Sampson and Sam Enthoven

Listen again here: https://www.totallyradio.com/shows/signal-to-noise/episodes/signal-to-noise-05-dec-2023-1576?fbclid=IwAR1L4s8MfzL2Fwg0Yaw5Wov8vCMpLwX6ow6SQw8vJS_lPNlJJ5iPxi-oH7I#_

[solocontenido]

Listen/purchase: Maromas by Cecilia Lopez & Ingrid Laubrock

[growing-at-the-edges]

I remember being captivated by Susan Alcorn's jazz-inflected pedal steel years ago at Silent Barn and have tried to periodically check in on her work ever since. This one seems to be further in the free jazz zone but I've been really liking it

[zef-zef]

Ingrid Laubrock Sextet - Vision Festival 20, Pt I (2016)

Ingrid Laubrock - tenor sax Craig Taborn - piano Miya Masaoka - koto Dan Peck - tuba Tyshawn Sorey - drums Sam Pluta - electronics

Part II

[donospl]

MUZYCZNE REKOMENDACJE: „Sculpting Sound”

Pyroclastic Records, 2023 Harry Bertoia znany był za życia jako jeden z największych projektantów mebli. Po komercyjnym sukcesie swoich kultowych drucianych krzeseł, Bertoia poświęcił się rzeźbie. Jedną z jego głównych prac była seria rzeźb dźwiękowych, Sonambients, których dźwięki wywoływał dotyk, wibracje otoczenia, czy też wiatr. Sam Bertoia uchwycił to na jedenastu płytach wydanych w…

[dustedmagazine]

Ingrid Laubrock — The Last Quiet Place (Pyroclastic)

Photo by Nicki Chavoya

The Last Quiet Place by Ingrid Laubrock (Pyroclastic Records)

Experimental art music sextets rarely create quiet places, but at least they can muse on them. For her latest set of compositions, saxophonist Ingrid Laubrock brings in both regular and new collaborators to help her respond to worries about mass extinction, the need for internal quiet and the lack of undamaged places in the world. The driving themes sound morbid, but The Last Quiet Place works more energetically than its title or topics might suggest.

The ensemble's strength lies in their flexibility. Laubrock and guitarist Brandon Seabrook have worked together enough that they have a natural partnership, enabling Seabrook here to frequently step out of his comfort zone. While his best work has often been abrasive and kinetic, on this album he plays more with texture and subtle changes, as just one element of a heavily integrated group. That connection remains important as the sextet slides between moods and even genres. At times they gravitate toward chamber music; a minute later they move into contemporary jazz. Hints of minimalism release into rock-influenced catharsis. Under Laubrock's direction, the whole thing coheres into a singular sort of meditation, the group doing anything except a scattershot approach. 

Laubrock focuses much of her composition on the strings, a reasonable choice given the presence of Tomeka Reid (cello), Michael Formanek (double bass), and Mazz Swift (violin). “Afterglow” provides a wonderful example of the way she passes the lead from her own sax to the other members of the act. The wind-to-string transition subtly recolors the song, and when Laubrock takes over again, the end of the piece has a formally satisfying feel after exploring a short range of hues in depth. 

“Grammy Season” marks an album highlight as each member trades roles. A longtime Laubrock collaborator, drummer Tom Rainey mixes the beats, frenetic at times and pounding as others, shaping the track as the other musicians come in and out. The piece suggests several trios coming in and out, with Rainey remaining constant. Seabrook gets to skitter a little more here, the structure of the song keeps everything on track, broken into defined segments that all build toward something before releasing into nervous and then resigned quietness, a sort of aftermath that follows frantic activity. 

We might not associate Grammy season (the time and not the track) with human destructiveness, but Laubrock's title speaks to the way we rush toward an empty nothingness. “The Last Quiet Place” offers moments of meditative repetition, but the larger work across the album mixes a warning into its playfulness. The sextet never sounds down, even while processing difficult topics. While we can all benefit from peaceful solitude, some kinds of noise remain beneficial to our well-being. 

Justin Cober-Lake

[postgenremedia]

Quiet Within: A Conversation with Ingrid Laubrock

Throughout its history, creative music has always been on a conceptual search for freedom. Ornette Coleman sought to move his music beyond traditional chords. Other artists- Wadada Leo Smith and Anthony Braxton, for instance – abandon notions of Western notation by utilizing graphic scores. But even the removal of such burdens, by themselves, is often inadequate to detach music from biases…

[jshatan]

Now up! The #bestof2022 series continues with a dive into diverse releases from realms of #jazz, #latin, and #globalmusic. Features stunning work by @jimmy_delgado_ @adigerwww & @bolispupul @charlottedossantos_ @amandawhitingharp @chipwickham @makayamccraven Tyshawn Sorey Trio with @gregosby @timucinsahin1 @bantlopez - Ingrid Laubrock - Tom Rainey @pleasureofthetext Sam Gendel @etrandelair @vieuxfarkatoure @shikashikacollective @blacksherif_ @burnaboygram @florenceadoonimusic on labels including @gondwanarecords @newfocusrecordings @intakt_records @pyroclasticrecords @leavingrecords @sahelsounds @world_circuit_records @atlanticrecords @philophon Over to you for some fascinating and joyful listening! https://www.instagram.com/p/ComqlJLAYP2/?igshid=NGJjMDIxMWI=

[zhanteimi]

Mary Halvorson Septet – Illusionary Sea

Mary Halvorson Septet – Illusionary Sea

USA, 2013, avant-garde jazz Instead of creating a new septet, Halvorson just added two more musicians to her extant quintet, specifically adding Ingrid Laubrock on tenor saxophone and Jacob Garchik on trombone, thus making this album very much a horn-based affair. This is also the first album where Halvorson includes a cover song, the other six compositions being all original pieces. Halvorson’s…