Guillermo Gregorio - Coplanar (2005)
Guillermo Gregorio - Coplanar
XLD Rip | FLAC+CUE+LOG | Covers | 76:32 | 305 MB
Avant-garde - Contemporary | 2005 | New World Records
XLD Rip | FLAC+CUE+LOG | Covers | 76:32 | 305 MB
Avant-garde - Contemporary | 2005 | New World Records
Madi Ensemble:
Guillermo Gregorio, clarinet, alto sax, conductor - Kyle Bruckmann, oboe, accordion - Jen Clare Paulson, viola
Fred Lonberg-Holm, cello - Michael Cameron, bass - John Corbett, guitar - Jim Baker, piano, ARP synthesizer
Guests:
Steffen Schleiermacher, piano - Marc Unternährer, tuba - Warren Po, cracklebox - Jennifer Walshe, vocals
Aram Shelton, E-flat clarinet - Ken Vandermark, bass clarinet
TRACKS
01. Coplanar 1+2, for guitar, synthesizer & ensemble [16:24]
02. Coplanar 4, for oboe, clarinet, tuba & cello [05:25]
03. Coplanar 3, for piano & strings [07:24]
04. White Coplanar, for clarinet, viola & cracklebox [06:24]
05. Construction with Coplanar, for oboe/accordion, clarinet/alto saxophone, tuba & cello [11:15]
06. Madi Piece, for guitar & strings [06:33]
07. Swiss Coplanar, for voice, tuba & piano [08:38]
08. Coplanar 5, for bass clarinet, clarinets, strings & piano [13:42]
The reeds player and conceptualist Guillermo Gregorio has assembled a number of provocative ensembles over the years. Influenced early on by artists as seemingly disparate as Pee Wee Russell, Ornette Coleman, and Fluxus, Gregorio has usually explored his ideas in small group settings. In January 2001, he founded the Madi Ensemble of Chicago, which performs original and historical scores that draw from the conceptual foundation of diverse Argentinian avant-garde currents. In his compositions, a reinterpretation of the fundamental and structural concepts of Constructivism converges with the historical experiences of Argentinean Conceptualism, Fluxus, intermedia synthesis, and graphic music. In addition to the acceptance of sound as material, constructive and geometrically generated ideas are used in scores ranging from conventionally notated statements to graphs, including planimetric projections of spatial structures.
The category “coplanar” is one of long-standing importance to the Argentine avant-garde that shaped Gregorio’s sensibilities. As best I can tell, it basically signifies the territory between the rigorous abstractions of post-Webern “classical” music and the earthier, direct music often heard in improvised settings. This certainly captures the feel of Gregorio’s music here, as on the opening “Coplanar 1 + 2” one can hear the intimate plucks of Corbett’s acoustic blending with reeds and synthesizers as the ensemble shifts and pinwheels continually. Movement is more important than settled sound environment; catalysis more integral than expression (though there are some moments of genuine wailing, not least Vandermark’s excellent bass clarinet on the concluding “Coplanar 5” and several wondrous statements from Bruckmann). Moving seamlessly between notation and improvisation, these pieces have a densely packed sound to them, almost as if they don’t want to be understood too readily. Quick slashes interrupt the concentration here, while unexpectedly rich drones emerge in the oddest places. Just when you think the music is about to tumble into klangfarbenmelodie, insectoid free improv scuttles derail things (as on the fulsome “Coplanar 4,” for oboe, clarinet, tuba, and cello). Several pieces feature a makeshift string quartet with soloists. And “White Coplanar” features the unpredictable cracklebox in a fascinatingly cranky textural essay.
The variety of textures, the wealth of detail, and the intensity of the musical interaction are all really captivating. Gregorio’s work is anything but easy, and it requires a good deal of patience and attention on the part of the listener. But it’s extremely rich and rewarding stuff.
X Lossless Decoder version 20110312 (130.0)
XLD extraction logfile from 2011-03-29 10:46:35 +0100
Guillermo Gregorio / Coplanar
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Ripper mode : CDParanoia III 10.2
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