The Jazz Bakery non-profit Culver City is one of the two or three sites most important jazz in the megapolis of Los Angeles for 17 years. He lost his lease, and closed in June 2009. Miraculously, he was rescued by a grant from the Annenberg Foundation $ 2 million. The Jazz Bakery returned in late 2012, a new space performance on the Washington Boulevard, a mile from its old site.
But that still leaves a period of 3 ? years without a location, so artistic director Ruth Price has created the "Jazz Bakery Movable Feast." She continued to present jazz in places such as the Institute of musicians in Hollywood, the Nate Holden Performing Arts Center in Los Angeles and Santa Monica borrowed keyboard Concepts.
Keyboard concepts is by far the smallest of these spaces, a room of 67-seat in a piano on the Boulevard of Santa Monica store. With its pure acoustic privacy and its magnificent Bosendorfer piano (price tagged @ $150 K), it is a chance for the Colin Vallon Trio setting. Santa Monica was the fourth stage on a tour of the United States, support ECM debut album of the trio Rruga.
It is always interesting to hear a set of jazz live immediately after the meet for the first time on record, especially when the folder is superb. Rruga continuously opens epiphanies and revelations. The question, given that the album is so spontaneous and free, was how different the Rruga live in Santa Monica would be saved by Manfred Eicher to Pernes, in France in May 2010.
In short, the answer is: very different. On the album, "Polygonia", composed by drummer Samuel Rohrer, is a mild hover triple wrinkles and chuchotees incantatory chords and then moves into something as the time time ambiguous, somewhere between 5 and 4). In Santa Monica "polygonia" was longer and more difficult and much more diversified. It is not unexpected for live music include the wider dynamic range. But Vallon in person of forms more dynamic and more impulsive, prepared to disrupt musical environments gentle with dark chords heavy and to undermine by fixing some of their fragments.
Two pieces by bassist Patrice Moret were also transformed. The folder "telepathy" slowly releases a gesture of melody above chordal obsessive repetition. In concert, she came out of its earlier cycles is diverted and dispersed. "Fjord" is the simplest on the album, a Crystal melodic, ornate, alternating with a rustle of Rohrer percussion. Keyboard Concepts has begun with a prelude of free time, Vallon plucking strings of the piano, and when he sat down and the song was quickly departed into a set of new ideas that arise for the three players in the moment.
What is important on the Colin Vallon Trio, it is that they lead you to the understanding of musical organization and space music. While they were often more aggressive in person, they were also a ready set barely impinge on silence, to reduce the content basic patterns and repeated like mantras, stay with simple figures until they melted into a trance. It is the opposite of linear music. There is no single story. There is a succession of various beautiful forms the relationship to another is never explained. But just where you thought it was music on meditation and the quest Interior, just at the point where you thought Vallon had abandoned and transcended the pianistic technique and stripped at basic runes and symbols, it broke with a right hand long, spectacular run. By integrating the most classic of development, even if exceptionally fast and complex, Vallon that see you the possibilities of musical form that you didn't know existed. They are forms which place jazz high level we know next to unfamiliar abstraction and render to manifest itself in an arc of discovery.
As Moret and Rohrer, they are independently articulated voice. Bill Evans jailli loose trio for piano, fifty years ago free bassist and drummer from their escort role. The Vallon trio gave this concept its extension farther away to date. Often, Moret and Rohrer were not clearly answered Vallon or to one another, but the assumed parallel realities. Moret drawn implacable, torsion of the lines as private rituals, sometimes broken, sometimes continuous. It was difficult to take your eyes off Rohrer. He was constantly in movement, clicks and chiming total cacophony, tapping bells with little sticks, barely affected cymbals with brushes, then suddenly erupts, securing his snare. Moret and Rohrer juxtaposed representations with the Vallon and three models superimposed in a fourth, the whole evolution which was this music. A drone in place increase and fall and take on small details. Gradually, their collective actions, the music would greatly fear the future, the rise in intensity and speed not seen before it on you.
Really listen to improvised music, is not a passive activity. It requires creativity on the part of the listener. Colin Vallon Trio requires unusual levels of patience and attention and imagination of his audience, in return, he offers unusual rewards.
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