fevereiro 19, 2004
El-Producto Devo confessar que só
El-Producto
Devo confessar que só conheço El-P, a partir do fabuloso album "Fantastic Damage". Em 2002, ano em que saiu, foi um dos melhores que ouvi, e ficou-me na memória. Depois escutei ainda "El-P presents Cannibal Oxtrumentals" e o nível continuou muito alto, definitivamente El-P tinha entrado na minha galeria de músicos notáveis.
Quando este ano foi anunciado o novíssimo "High Water: Mark" fiquei bastante estunsiasmado, pois o mestre estava de volta, só que, desta vez, a produção passa por um estilo completamente diferente. El-P, o compositor de Jazz.
Convidou para a execução neste seu novo trabalho, alguns dos melhores executantes de Free Jazz, a saber, William Parker, Matthew Shipp e Daniel Carter, e posso garantir que o trabalho é notável.
Aqui fica o registo de uma crítica ao novo trabalho de El-P:
"High Water (Mark) is the latest jazz-not-jazz offering from Thirsty Ear's Blue Series imprint. As with other releases from the Matthew Shipp-led imprint, it pairs a non-jazz artist with Shipp and his regular New York compatriots. In theory, producer-rapper EL-P, who doesn't rap on this album, is a perfect candidate for this kind of collaboration. He's a risk-taking intellectual with a knack for finding pleasure in the ominous and beauty in noise--qualities that mesh with Shipp's heady, sometimes dissonant, often moody music. "Get Modal" points to what this album could be. Featuring a propelling bassline from the always-wonderful William Parker, the tune is a passionate acoustic-electronic collage of melody, ad lib, and craftily placed samples of steel guitar and filtered soul singing. The funk workout "Get Your Hand Off My Shoulder, Pig" is less interesting, but manages to light a small fire under a simple descending chord change, while drummer Guillermo Brown pushes EL-P's beats toward New Orleans.
The rest of the album is pushed to some far less vibrant place. Three of the tracks fool around with Charles Aznavour's "Yesterday When I Was Young (Hier Encore)," with Shipp providing cocktail-piano parodies, and a general spirit of pointlessness prevailing. Elsewhere, the harmonically stingy backing tracks seem to bore the players (the album also features trumpeter Roy Campbell, trombonist Steve Swell, and saxophonist Daniel Carter), who collectively improvise/noodle together as if the life of a senescent gnat depended on it. Lord knows the world is full of worse music than this, but given the talent involved, I wonder if a better title might have been Ebb (Tide)"
Publicado por Pedro Varela em fevereiro 19, 2004 12:16 PM