CON-V EDITION

CNV39 | 16.02.2007

JOHN CLAIR, JED SHAHAR

Avner's Arrival


01 . Suny Session 1 (with Security Guard)

02 . Suny Session 2

03 . Suny Session 3

04 . Trio with Loren Steele - live @ 226 series

ALL FILES (Download)

 






Vibraphone

 

anomaly intravenous evenings disperse pellucid ampersands

 

Diaphanous polyphony peals

lanced garden cuff

squashed cerulean brocade koan

bromide wrist demitasse insole

chanson chantilly jeremiad

tumescent cadaver ensign unremitting

tautology hydrangea ossify

 

benign cud acacia cordials

febrile miscreant puffin column

periwinkle bijou perjure

goring edelweiss

 

Pilgrim grapes glimpsed in the oaks of an incandescent fold. Striation trace

seedlings freshly plastered hamlet. Baking charcoal enlaced siren snout thunder.

 

The whole snout blazing with

trees twenty thousand

to the cruel one another,

living was not at

twenty, thousand oak

trees

twenty to continue awake what dried leaves

in which the

reeds, shot at

that all its father attempting an innocence,

humid with wild boar, had guessed and over all sighs,

do you wait for it is devoid

of health,

and cold, like to live from

the happy and a very beautiful.

He stopped and without causing any

all through his soup with tufted slumbers.

 

necromancer quay cavaliers akimbo

tattered caliber spokes

myrtle dappling spangles skein

grail pizzicato emulsion

crocus sheath scalloped damasks

pasha chintz aviary

madras cudgel samovar mint levees

peristalsis wicker mistral

[ John Clair 2006 ]

 

 

 

Vibraphone- ( translation by Jed Shahar )

vibraphone vibraphones not much beer

ampersands ampersand pol-if-áne

pol-if-áne?

pol-if-a-peal

pol-a-pellucid

pol-anomaly

 

pol-anomaly?

anomaly I wanna know

trees a twenty thounsand

pizzacato down below

 

baking charcoal in laced sirens

pilgrim grapes in glimpsed oaks

insole chanson perjures scallops

whole white snouts and twenty thousand oaks

 

twentythousandoaks twentythousandoaks twentythousandoaks

column edelweiss

twentythousandoaks twentythousandoaks twentythousandoaks

garden slumbers

twentythousandoaks twentythousandoaks twentythousandoaks

induce labor

twentythousandoaks twentythousandoaks twentythousandoaks

minstrel pasha

 

minstrel pasha

minstrel pasha

mein skin is skein

emulse us sweet pasha

emulse

the happy are sighing

the healthy alone

the tattered speak chantilly

and you by vibraphone :ll



REVIEWS


Bagatellen

It’s been remarked before that, over the last several years, many practitioners of eai have become rather adept at unspooling good, solid recordings, that the language has settled in comfortably enough for many musicians to create unforced and natural performances. For myself, I’ve found this to be the case more with what you might called the Müller-end of the spectrum, that is, the smoother (I don’t mean this pejoratively), more tilted-toward-ambient area of improvisation. It seems to me to be more difficult to master the language as you get toward the gnarlier side of things—the harsher, less overtly cohesive music that might be found, for instance, in Sachiko M’s contact mic work. You tend to hear a lot of work where the dialogue is stilted; you want to hear it become second nature, like slang.

 

But perhaps that area is becoming common parlance as well, a good thing. This recording by John Clair (guitar and preparations, piano, contact mic, field recordings) and Jed Shahar (construction materials, tromphone, prepared saxophone, contact mic) with Loren Steele guesting on laptop on the final track, does a pretty fair job in at once convincing the listener as to the grasp and confidence of the musicians in wielding this language, that it’s become a natural vernacular. They do so in disarming fashion on the opening track, a brief improv at a college auditorium which is interrupted by a laid-back security guard questioning their uncredentialed presence after about two minutes of scrabbling about. The lads deferentially explain what they’re doing, the guard is intrigued and lets them stay. It’s a lovely little piece and actually works quite well in its brief entirety, conversation and all. The following cut is a fine, concise study in what sounds like contact mic manipulation, unhurried and calmly conscious. These two pieces serve as intros for the two lengthier tracks that make up the bulk of the release. The first is my favorite of the bunch and the clearest indicator that these fellows know what they’re about. The low level noise absolutely maintains interest and cohesiveness throughout, the variations in material segueing naturally from one sound area to another, the density and sparseness of the overall noise contracting and expanding palpably. As elements such as recordings of PA announcements and exterior environments filter their way into the mix, they sound as pleasantly routine as opening a window. Even at 21 or so minutes, they understand when things should be wrapped up and do so at precisely the right point. Excellent piece.

 

The last track, the pair augmented to a trio, fares less well. A sense of busyness which had been avoided thus far creeps in here as well as a use of sound sources that come across as too obvious, such as sheets of metal, certain electronics and saxophone. Maybe it’s simply an overcrowding that occurred with the addition of Steele (though I can’t attribute any of the difficulties to sounds apparently originating on the laptop), maybe it’s just a less inspired performance. There’s a feeling of casting about for ideas that was absent earlier, the conversation meandering around aimlessly and eventually petering out. Not that there aren’t several individual events of interest, but the overall structure struck this listener as more haphazard than enjoyable random, if such distinctions can be made.

 

[ Brian Olewnick ]

 

CON-V EDITION | 2015