Wydany przez niezależną amerykańską wytwórnię Out Of Your Head album "Atlantic Extraction" jest debiutem kontrabasisty, kompozytora i band leadera z Brooklynu, Nicka Dunstona.
Muzyk dotąd koncertował i nagrywał z takimi muzykami jak Vijay Iyer, Marc Ribot, Ingrid Laubrock, Matt Wilson, czy Jeff „Tain” Watts.
Na nagranym w kwintecie z Louną Dekker-Vargas (flety), Ledahem Finckem (skrzypce, altówka), Talem Yahalomem (gitara) i Stephenem Boegeholdem (perkusja) albumie, znajdziemy muzykę stylistycznie nawiązującą do dokonań takich artystów jak Anthony Braxton czy Art Ensemble of Chicago. Mieszanka free jazzu i klasycznej muzyki współczesnej z domieszką etniczną zawiera potężną dawkę improwizacji, dzięki czemu słuchając płyty jesteśmy niejako świadkami procesu powstawania muzyki i kreatywnych narodzin dźwiękowych struktur. Wyjątkowe instrumentarium składające się z basu, fletu, skrzypiec, gitary i perkusji, zapewnia muzyce Nicka Dunstona oryginalne brzmienie i niepowtarzalny charakter.
Album ukazał się 1 listopada.
Robert Ratajczak
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Nick Dunston: Atlantic Extraction
CD, Out Of Your Head OOYH 004
program:
1. Collage No.2
2. Tattle Snake
3. Dunsterlude
4. Delirious Delicacies
5. Collage No.4
6. S.S. Nemesis
7. Vicuna
8. Collage No.1
9. Globular Weaving
10. String Solo No.2
11. Zoochosis
12. String Solo No.1
13. Collage No.5
14. String Solo No.3
15. A Rolling Wave of Nothing
16. Contraband Peanut Butter
personel:
Louna Dekker-Vargas - flety
Ledah Finck - skrzypce, altówka
Tal Yahalom - gitara
Nick Dunston - kontrabas, wokal
Stephen Boegehold - perkusja
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materiały prasowe:
Nick Dunston - Atlantic Extraction
Out Of Your Head Records | November 1, 2019
RIYL: Anthony Braxton Quartet, Art Ensemble of Chicago, Laurie Anderson, Berio's "Sequenzas", Ligeti's piano etudes, Kris Davis’ “Capricorn Climber”, Ornette Coleman, Varese's "Density 21.5", Ingrid Laubrock’s “Serpentine”, Cecil Taylor
Atlantic Extraction (OOYH 004), Nick Dunston's debut album, as well as the name of this very active quintet, demonstrates a compositional maturity well beyond his years. Touching upon Free Jazz, No Wave, 20th Century Western Classical music, and Appalachian Folk , s ome of the pieces were written four years ago, and others were written in the studio just minutes before being recorded. The music represents the full spectrum of diversity versus cohesion, urgency versus patience. Atlantic Extraction is not a recording project (no isolation booths, no punch-ins, and typically only one or two takes per track). It is an internal negotiation of the bandleader's relationship to the idea of permanence, and serves as a reminder that, as Noah Becker writes in the liner notes, "music is expressed in process, not product...". Within this unique ensemble comprised of bass, flute, violin, guitar, and drums, the musicians are constantly balancing the integrity of the compositions with their individual improvisational approaches. Atlantic Extraction embodies craftsmanship, virtuosity, trust, and vulnerability.
Nick Dunston is a Brooklyn-based composer, bassist, scholar, and writer (Hot House Magazine). An “indispensable player on the New York avant-garde" (New York Times), he's performed, toured, and recorded professionally with bands led by Tyshawn Sorey, Vijay Iyer, Marc Ribot, Ches Smith, Ingrid Laubrock, Anthony Coleman, Jonathan Finlayson, Amirtha Kidambi, Moor Mother, Dave Douglas, Matt Wilson, Tomas Fujiwara, Allison Miller, Jeff Lederer, Jeff "Tain" Watts, and Darius Jones. He’s spent extensive time studying with bassists Linda May Han Oh, Ben Street, Harish Raghavan, as well as with composer Missy Mazzoli. As a composer, Dunston has written for a variety of artists of multiple genres and disciplines, and for entities such as the New York Public Library of Performing Arts, Joffrey Ballet School. In 2019 he was awarded the Van Lier Fellowship by Roulette Intermedium, which supported the world premieres of “The Floor is Lava!” (upright bass quintet), and “La Operación” (double saxophone trio + soprano voice), referred to as “a work so dramatic and large that is both a response to socio-historical truth as well as a reflection on his own identity…” (I Care If You Listen).
