Mopdtk_slipperyrock_eh_span3

THE JUNGLE COMTEMPORARY

jump in a crazy enthusiasm


Music, man… music does nothing more than continue
the music keeps us in life
more than what maybe can imagine.
Ebbe Traberg
devoted to Dexter Gordon

What is known, in the different layers of the tectonic jazz ( of Armstrong to Ornette Coleman ), a style that this irony and mockery with both professionalism, as does the band american Mostly OtherPeople to the Killing ( MOPtK )? Armstrong reached to be a 'darkly entertaining', the image of the "good black" comic. Ornette, for its part, reached a peak of hurtful irony, with fantastic results. The trumpeter of the Art Ensemble of Chicago, with its white dress or gown, resembling a physician, as well as his own group, with each one of its members disguised as indigenous, showed a somewhat unique mocking and presented to the public at each concert .

MOPtK, for its part, has a détente, a sarcasm of prodigious mockery so strong, that praised its quality becomes a musical irony. "The irony disdains the naive and spontaneous gesture, since it ranges beyond the innocence and the irrational" (1).
On the cover of the production "Slippery Rock", the musicians dressed in colorful costumes, jump in a crazy enthusiasm, that contagious once we began to hear the frantic orgy of the trumpet of Peter Evans or the saxes of Jon Irabagon staggering. Here relive, in a loud voice, the horns, whistles and cough sounds that emits the vehicular traffic from the noisy cities of the world. Other times to simulate a large corral de los Gallos. Fantastic.

We are faced with a tasselled dance sounds, by customizing the taste, with their jokey darings, of the 'sour crapes', that is to say, the current progressive jazz followers of this kind flamboyance instrumental. The mockery of some forgotten blues makes sense in the cries of the wind instruments, with its obsessive repetition of rhythmic and melodic formulas .

With MOPtK arden polyphonies in an absolute way. The power and the 'unseemly' way to address the multiple possibilities of tremendous line-up became somewhat is opening. For this reason they are so burlesque, so laughable, that the melodies are traradas freely, with plastic sense ( extends, the break up the grind, the subverted ), questioning the ideas on the current imbalance musical. Again, as in the blues, the members of MOPtK are the expression of a aesthetic revolt. Welcome, friends, your force sound!!.

In this work we enjoyed 52 minutes full of effects clusters, sounds 'dirty', growls, synthesizing the apotheosis of the unnerving sound in its presentation. This quartet invites us to "laugh, joke, destroy without bitterness," as Nietzsche said. MOPtK mangled rules and criteria of the jazz academy, to give us the joy of festivity and joy through its rich and spring style. Peter Evans, Jon Irabagon, Moppa Elliott in the low and Kevin Shea in the battery (with its strong blow), we invite you to delight in its grandiose 'happening', in the manner of Ayler: "We are trying to rejuvenate that old feeling of the New Orleans according to which the music can be played and collectively of a free form" (2), except that this group does so with the sarcasm more authentic than is notified find in no instrument.

"The future of the laughter is the future of that illusion call 'moral', based on notions are convicted as freedom and happiness," said the spanish writer Fernando Savater. The vibrato here has other connotations: is enriched me pointedly by improvisation, to mature in this playful project called 'ensemble'. Therefore, the technique is rigorous, outside an orthodox interpretation, something like a style that I can call contemporary 'jungle'. "In our music there are differences in intensity and speed" (3).

The very creator of wind instruments, the Belgian Adolphe Sax would be outraged by such cheerful presence and an'rrquica of the trumpet and saxophone. Unpredictable, colossal, baquicos, luminous, eulogies, "a great flight of ravens stain the sky blue", as said Ruben Dario. For this production, the heaven refers to the boring balance of western classical music and its tonal scale.

The only thing to blame for this CD is the absence of the parody in the image of their previous records: "This Our Moosic" (parodying the classic album of the quartet colemaniano) " The Coimbra Concert " ( referring to the famous Concert Kolh Jarrett ) among others… ., with work by the design of Nathan Kuruna. "How easy it is to recommend the joy to those who cannot rejoice", stated once more the Romanian philosopher, Cioran.

That difficult, I might add, is to recommend if you are looking to MOPtK does not have within it that joy we rending, which makes us gods for the moment that lasts the hearing.

To emphasize my joy each time i have ever heard to MOPtK, reaches me, to the memory, the fragment of the poetic peruvian Magdalena Chocano: "a child can only capture the ray of sunshine in your usued".

(1) “ En las Cimas de la Desesperación” E.M. Cioran. Tusquets Editores. Pag. 157
(2) En “Jazz Magazine, # 142, Mayo 1967, pag. 47
(3) Milford Graves en “Jazz Hot” # 251, Junio 1969, pag. 15
January 22 de 2014
Twitter: @jazzero

Add a Comment

You need to log in to comment on this article. No account? No problem!

  • Email E-mail
  • Share Share
  • Rss RSS
  • Report Report

Community Authors

Gustavo Bustamante