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dustedmagazine · 6 years

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Listed: Matthew Golombisky

Matthew Golombisky grew up in North Carolina, where he picked up the bass to play metal with his buddies and jazz in a couple high school bands. After college he moved around the US, playing upright and electric in countless bands and spending time in the Bay area, upstate New York, and New Orleans. In the Crescent City he bonded with his most enduring musical partner, drummer Quin Kirchner, with whom he has toured extensively as a duo and as the rhythm section for other bands. When Hurricane Katrina laid waste to the town they both eventually moved to Chicago.Both of them played with trombonists Jeff Albert and Jeb Bishop in the Lucky 7s, and Golombisky made strong connections with the city’s jazz scene. In 2007 cofounded Ears And Eyes Records, which has issued albums by notable current and former Chicagoans such as Bill MacKay, George Freeman, Caroline Davis, Chad Taylor, Charles Rumback and Matt Piet. He has toured the US with Zing! And NOMO and stage-managed at Pitchfork, but after traveling around South America he landed in Buenos Aires, Argentina, in 2013. There he plays and teaches music and is raising a family, but he sustains ongoing connections with his mates in North America. Golombisky has recently released two cassettes, Cuentos 1 & 2 and Cuentos 3,named after the Spanish word for short stories. Each volume is devoted to a group of musicians connected with one of Golombisky’s old homes, and the music that he composes for them combines the emotional expressiveness of mid-20thcentury modern jazz with the close engagement of chamber music.

Milli Vanilli, Girl You Know It’s True

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Though as a kid, I grew up listening, per my parents, to a lot of Led Zeppelin, Pink Floyd, Queen, The Who, CCR, Steppenwolf, Jethro Tull, Simon and Garfunkel, and David Bowie, the first cassette I ever bought with my own money was in the late 80s and it was Milli Vanilli’s. I was 9 or 10. How I came across their music I don’t remember, but probably from MTV. I remember on late night drives back home with my father from his auto body shop in his red 1986 V8 5-speed Z28 Camaro (with louvers on the back glass), which I bought from him as my car in 1998, we’d blast that cassette (as well as Herb Alpert and Fine Young Cannibals cassettes, what a mix, no?)! I have no idea how long this lasts, but it couldn’t have been long because when I learned Milli Vanilli was a total front and a lie, I went out into the boonies(woods), where we lived, in the middle of small-town North Carolina, and had a cassette-tape-burning session. I gathered some gasoline and matches and melted that tape to a little pile of plastic. It felt good and well-deserved. When my dad found out, he got incredibly upset (or so I’ve told the story as I remember… maybe one day I’ll confirm with him if it’s true if he’d even admit to being angry about my destroying myMilli Vanilli tape, I’m not sure). I guess the only reason I’d include this in Dusted’s “Listed” feature is that it was a profound experience of “create your own damn music!!”

Miles Davis, Volume 1

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Me getting into jazz: All I knew of jazz for a few years was my playing bass in the high school big band, so mostly reading what Sammy Nestico had written out for me. My first jazz record, Miles Davis’ Volume 1, was a birthday present from a girlfriend, but I didn’t immediately become a jazz enthusiast. I didn’t run out and buy more jazz records (I was still buying Mr. Bungle, Infectious Grooves, Primus, Nirvana, Megadeth, and Faith No More cassettes and CDs). But I did play this Miles CD over and over again! I had played cornet for years prior to this and it simply blew my mind what Miles was accomplishing here; his tone, his lyricism, and also his patience. I did, however, fall in love with what I thought the idea of jazz was; at least one of them: improvisation. In high school, I founded the school jazz combo and this is where I discovered more improvisation; I was always super elated that we could play the same song over and over, and I could manipulate the vibe and mood of the tune in the moment. Improvising! Creating something new(ish) all the time, each time. This idea is what attracted me so much to playing jazz and that idea of creating something from little (or nothing) is how I think I came to be a composer, among other creative outlets I find myself in. With music (which spoke and called to me) and being able to always explore and find new ideas via ‘jazz’ the most viable avenue to do this? Yes!, then let’s study jazz!!!

Opeth, My Arms, Your Hearse

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I feel in love with Opeth on their first release, Orchid (1995). Not only was the music incredibly original and fresh for me, but I was also a fan of the fact that it was metal music, which I had already been listening to and playing, that I could distinguish and hear the bass guitar clearly from Johan De Farfalla. And then Opeth’s Morningrise (1996) was released; even better! And then My Arms, Your Hearse came out, even better! My Arms, Your Hearse is probably my favorite “death metal” album of all time. Lead singer, main guitarist and composer, Mikael’s death and clean vocals are thick, heavy, soaring, beautiful and powerful. I’m a person that doesn’t often hear or pay much attention to lyrics. I can sing along with the melodies always, the notes, but I almost never know the lyrics to most songs I love even. I’m definitely not one to write lyrics either (I wrote a children's musical a few years ago and had to “contract” out for lyrics). Sometimes, I take a closer listen to lyrics when conscious about my lack of musical character and most of the time, it just makes me dislike the song (admit it, a lot of lyrics are crap. Not all, but a lot). But I know the lyrics to My Arms, Your Hearse, start to finish. It’s such a cool mysterious story about a ghost checking in on his friends, family and environment, chock full of lush imagery… in my humble opinion. (As writing this paragraph and re-listening to this record, I had an almost second-by-second opinion of each phrase, harmony, and melody and the wow-ness I thought about including but decided against writing a short novel.)

This Is Spinal Tap (a favorite scene)

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In my second year of college my band at the time, Daylight Dies, rented a house together. We had also been friends for about 6 years by then. I don’t know if it was weekly that we watched Spinal Tap, but it was a lot. Since that time in my life, Spinal Tap has continued to be my all-time favorite movie. I watch it at least a few times a year still and can start the movie dialogue from the start and recite a good 90% of it in its entirety. Then when the DVD came out around 2004, I was blessed with another 45 minutes of unseen footage! I think that one of the best aspects of the movie is that with all this material filmed and executed amazingly, there were only 11 pages of a predetermined script when they started filming. Again, improvisation, I love it! “Lukewarm water”… I might add that Daylight Dies continued on to great success, even touring with some of the bands that were our favorites when we were in high school. I got to revisit the band in a way and recorded a contrabass “choir” on one of their releases and arranged strings/woodwinds, using my Tomorrow Music Orchestra on another release of theirs. It was fun to have my death metal “upbringing” returning to my professional musician/composer life.

Steve Reich, Variations for Winds, Strings, and Keyboards

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I was really lucky to have attended an undergraduate program, majoring and studying jazz, that also required me to take three years of classical music history and theory. Even luckier, the professor who designed the program, Dr. Joye Dorr, was a big fan of 20th Century Classical music and thought it important to expose undergraduates to its wealth, even for the jazz folks. In those years, I was transformed into a musician much different and more of whom I am now. But just before we started in on that 20th Century material, my alarm clock woke me one morning and on the radio was a recording of Steve Reich’s Variations for Winds, Strings, and Keyboardsand I missed my first class, transfixed in bed with this repetitive “trance” music I had never experienced before. I became a devote fan of minimalism (for a while) from there. Honorable mentions in this category would have to be Gavin Bryars’ “Jesus’ Blood Never Failed Me Yet” and “Sinking of the Titanic”.

Charlie Haden, The Montreal Tapes with Don Cherry and Ed Blackwell

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Charlie Haden is my musical hero. I’m not sure I could choose just one recording because I find beauty in everything he’s done. But for the sake of the Listed-vibe, let’s say the first album I experienced, The Montreal Tapes with Don Cherry and Ed Blackwell. I was mesmerized and captivated by his sound, his singing-like soloing/lyricism, his patience, his support in the trio, his tone. The open feel of this record makes for an incredibly clear statement, musically. By the time they recorded this live at the Montreal Jazz festival in 1989, these guys had been exploring jazz (and quite a bit of free jazz) together for some 20 years; and it comes through on this record. And yes from here, I went out and bought every Charlie Haden-related record I could. And when I finally met him for the first time in Montreal in 2002 after a concert, I couldn’t help the flow of tears. I heart Charlie Haden profoundly.

Arvo Pärt, Fratres

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What an incredible composer to get to know if you’re looking to enhance aural beautification to your life. Part’s music is so powerful for me and not because many consider him (including himself) a “religious minimalist composer”; that I could care less about. The motion of the lines and dramatic candor are completely intriguing and alluring to me. This record especially. I love that it’s also a piece that can be played with varying instrumentation and carry a different timbre but still be as powerful. The voices between the instruments, where they are placed in the sonic spectrum, the repetitive melodies, and especially the drone! This music not only takes me to a tranquil place but also invigorates me to be better and try to heal the world the best I can. Part is an inspiration for creating more beauty in the world. One of his most popular pieces is called “Spiegel im Spiegel” and the first thought I had upon listening years back was: kindness. Yeah man, more of this, please.

Henryk Gorecki, Symphony No. 3

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I have a hard time falling asleep; it started when I was about six or seven. Thoughts of the day, as well as newer and older ones, arose continuously (and still do). This piece has psychosomatically calmedso many of those, what would have been, sleepless nights. It has a depth to it where my mind can get out of whatever million thoughts are being processed and then relax me in order to calm the mental activity. The low strings repeating the same melody in a brooding canon, wow, with a mix of minor 9ths, major 7ths, perfect 5ths, major/minor 6ths; a mix of doublings I find chilling in the first couple minutes that set the tone for the rest of the piece.

James Blake, The Colour in Everything

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Bon Iver, 22, A Million

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Honorable mentions on current production ideas and such that I study: all of Bjork, Radiohead, and artists that are involved with visual art in some form. But these two mentioned records are fascinating production (and music) - wise. Woah.

#dusted magazine #listed #matthew golombisky #milli vanilli #miles davis #opeth #this is spinal tap #steve reich #charlie haden #arvo pärt #henryk gorecki #james blake #bon iver

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dustedmagazine · 6 years

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Matthew Golombisky—Cuentos 3 (Ears and Eyes)

Volume 3 by Matthew Golombisky's Cuentos

Bassist and composer Matthew Golombisky was born and has lived much of his life in the USA, based at different times in the mountains of North Carolina and on every major coast. For the last half decade he has resided in Buenos Aires, Argentina, where he teaches music to at-risk youth and remotely operates the Ears and Eyes label. Cuentos, which is the Spanish word for stories, is the name of a body of work that addresses his problem of living thousands of miles from the musicians who know him best. The solution is two-fold; visit your pals, and prepare a book of tunes flexible enough to fill a bill whenever and wherever you show up. Each Cuento is centered on a particular musical idea; the way that the musicians on hand articulate that idea becomes part of the story.

Cuentos 3 follows a tape of material recorded in Oakland, CA and Chicago, IL with a different Chicago line-up. It includes tenor saxophonist Dustin Laurenzi (Twin Talk, Natural Language, Bon Iver), trombonist Naomi Moon Siegel (Syrinx Effect, Allison Miller), trumpeter James Davis (Beveled, Restroy), and Golombisky’s old friend (and current Dusted favorite) Quin Kirchner (Lucky 7s, Wild Belle, Ryley Walker) on drums. With horns to the fore and a drummer who swings at even the lowest velocities at their back, this is the jazziest iteration of Cuentos to date. But Golombisky’s tunes aren’t mere excuses to blow. The instrumental voices weave together in near-orchestral fashion on “Cuentos 13,” and when Laurenzi takes a solo on “Cuentos 15,” it fits into the piece’s construction so tightly that it might as well be written out. Which isn’t to say that the musicians are hemmed in, but rather that they exercise their creativity by elegantly shading and balancing the music at hand rather than jumping off from it in order to show off their stuff.

But you can’t ignore the moment in the age of Trump. The Nazi march on Charlottesville, West Virginia took place just as Golombisky was pulling this project together, and the last tracks are a response. “Cuentos 17” is nearly twice the length of anything else on the album. The horns confer and cry in small, broken dialogues while the drums hold forth independently, like a traveler carefully threading his way past a series of uneasy conversations. The brass opens “Cuentos 18” in full cry, venting dismay before falling in with the rhythm section’s steady groove in a final passage that expresses comfort as well as unrest. Golombisky starts out Cuentos 3 getting things just right; the last two pieces show how one might use that creative toolbox to deal with things that are terribly wrong.

Bill Meyer

#matthew golombisky #cuentos 3 #ears and eyes records #bill meyer #albumreview #dusted magazine #quin kirchner #dustin laurenzi #naomi moon siegel #james davis

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