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The Loudness of the Pictorial Jazz

Jazz & Painture

“…das sich ubergebende a- Sterbliche Lied…"
" … the song- deadly pays…" Paul Celan

Sound paintings or pictorial sonorities. Only in this beautiful accompaniments we can appreciate the artistic synthesis of color and sound that offers the unique seal TUM Records, which in its impeccable editions in digi-pack offers us his catalog with the most outstanding exponents of free music or forms of improvised music.

Since that Ornette Coleman published his famous work "Free Jazz" with the image on the cover of a painting by Jackson Pollock, these two aesthetic forms are accomplices, by its conception, both lyrical and for his sense of running free. It is the color marking its imprint of informality in its abstraction and is ripper the jazz with its strokes dissonant and energetic painting the sounds with the purity of its freedom.

It is for me a compliment and a pride to be able to have artistic, appreciate and 'taste' these productions of TUM Records, because I love these two expressions: The painting of lyrical abstraction and free jazz. Well the Picasso said: "The painting is the profession of a blind man who does not paint what you see but what you are feeling, what is said to himself on what he has seen".

Thought that dedicated to the painter Marianna Uutien, interesting artist from Finland, that with his work "Painting" (2011) illustrates the present production of drummer Barry Altschul "The 3Dom Factor", accompanied by Jon Irabagon (tenor sax) and Joe Fonda (bass).

The title track of the production is the framework of beginning of this rewarding musical experience. The tenor rides on a vibrating battery, in a state of strength and dynamism of its own free, with Irabagon presenting sound resources of fortitude technical and expressive richness. Joe Fonda covers, with lucidity instrumental, the spectrum of the central theme, offering volume and strength in his speech. Barry Altschul is in its polyrhythm, fearless and playful with its battery.

"Martin's Stew" invites us to be part of a sequenced pace, in the same way as a "Giant Steps", with the lyrical arc of Fonda; hilarity of a saxophone that spells out rhythmically your phrase, their raids, with unexpected jolts in the records ends ( serious or acute). An improvisation ambitious, full of force free.

The ballad "Irina" is beautiful in its conception, with the sax hopeful a notion of intimate melodismo, concerted and envisaged in its beautiful invoice of the trio. Fonda is verbal, with wisdom in its solismo. Barry, timely in their dishes, adorned with graceful and distinctive presence this baladismo jazzy.

"Papa's Funkush Dance", is part of a trend funk, alien to the shrillness of the free more classic. Jon Irabagon continues to provide rhythmic and melodic patterns, diversifying his speech, contributing to the constant variance of the contours and their sound colors, vocalised his expressive instrument with precision, without altering its prominence..

"Be Out S'Cool", within a context dominated by the tenor sax, it seems that tries to dissolve in your invoice Sonora. The trio is more playful, more informal and knit, where the composition is the incentive for the fruitful free improvisation. The relationship between the musicians is a free symbiosis of the expected and unexpected at the same time, the form and the desire to break it within the more jazzy suggestive patterns. The song exudes youth force on the part of the three musicians.

"Oops" is installed in a controlled perfectionism, and just why, attractive and secret calls. Here, in the manner of Albert Ayler, "the sounds become more important than the notes". The timbric of Barry, accompanying her alien to conventions, of joyful nonchalance, make the tenor sax quit his tessitura usual, giving us a kind of hierarchy of sounds in their displacement of sounds. In this time of the hearing, I recall the words of the controversial Charles Tayler: "I think that the jazz will be released to itself to be jazz, or at least of what the public believes that it is the jazz".

"Just A Simple Song" is the velvet jazz. Literally nostalgic, sentimental overwhelmingly. A hymn that pulling the musicians with exemplary interpretation, in an exhibition of apollonian virtuosity, foreshadowing a idyllic atmosphere, a episode also frequent in the entire history of the American popular music, fact caricature by the commercialism of the more conservative ruling elite.

"Stroke", composition of Carla Bley (it is important to remember that all topics are Barry) is refined in its levels both melodic and rhythmic, especially. The possibilities of the drummer are compulsive, rich in his gesture. Pity their short duration. But his accent, restraint orgiastica, leaves us on the threshold of his plunder, in its intense lyricism.

The game sound, dialog between the low arc with the sax and introduce us to "Natal chart", punctuated by sudden excess of ambition 'free': otherness saxofonistica of great product, vigorous, enthusiastic with the momentum very own of the jam of Kansas City, with its immunity in the wind instruments, and that in this case, with Joe Irabagon, customize these forms to understand the festive jazz with all the possibilities in the improvisation. To finish, and with regard to the subject

" A drummer's song", a great grammar and drum solo of Barry Altschul, we might recall the words of Max Roach: "The battery pack is a instrument of tuning with the undetermined that you can't work on the basis of tones but architecturally, and so you create designs with the instrument". Barry draws, at the time, a picture of your ideological 'corpus', its simple and impressive wealth polirritmica, exquisite textures, notices in the cymbals, adorned by them, a voice that seeks to be ecumenical in its resonance of drums, in the amplification of his resounding echo.

If the battery is the only instrument invented by jazz, it is by their need to synthesize an idea, not only of rhythmic accompaniment, but rather to build dictates from the heart of the musician, as well as synthesised Barry Altschul percussive in this design, an interesting delight to forge a musical image, beyond what is created with the feet or with the hands. In the file of the disc, this musician picks up the idea of another great drummer Beaver Harris : 'From ragtime to no time', referring to a fantastic synthesis of this musical history in the framework of the happy flow of improvisation.

"The 3Dom Factor" is the strong edge of three musicians who suggest and invite you to enjoy their 'torrid sensuality', his admirable task of facing and position to the jazz music to the libertarian spirit. Thanks to them and to the lavish production of TUM Records, we breathe in everyday life, with more freedom. Oxygen for the body and the soul, they are one and the same.

December 26 – 2013
Twitter: @jazzero

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Gustavo Bustamante