| $12.48
back in stock as of
july 14th, 2008
first in stock on
may 17th, 2005
threads:
free-improvisation
|
| | | sedimental (usa) #sed 040 cd david gross “things i found to be true” compact disc - partially buried woodshed (5:13)
- the language of the blues is on my radar (b. kelley) (4:35)
- a porcelain bowl with fruit (3:17)
- carnival of souls (4:55)
- dystonia (4:48)
- things are different (3:17)
- imagine the drama / magic thinking / narcissism spinning in the middle of nowhere believing god looks just like we do (1:54)
- what music sounds like (3:34)
- single (version) (2:56)
| | click the play button to hear an excerpt of "things are different" |
| spring 2005 solo unit from gddg, long a mainstay/agitator on the boston free-improv belt (going so far as to curate a yearly festival at the ica called “autumn uprising”) gross here works a saxophone in ways unbefitting mere labels like “jazz” or “improv”, approaching the instrument on a more sculptural level, resulting in some very far-out and inviting sonorities. on par with greg kelley’s solo acoustic output, less focus on sustained tones.
(an aside... mimaroglu music sales’ 2nd employee cleobold “gronis” plornulax was entirely convinced throughout this disc that a rodent, small or otherwise, has nested inside the right ns-10 of my home stereo unit, and thus devised ways to ascend the mms vinyl shelf to get closer to the source... if that gives any indication of what the music sounds like. he stopped the moment the disc ended and started howling that i let him into the backyard to eat some grass, which i did. it’s beautiful outside...) |
| | sedimental press release... |
| before embarking on the seven week us tour that i did in 2001, i made a solo recording which i gave to rob (owner of sedimental recordings) and whose comment was "i don't know what you want me to do with it." i was a little dismayed but a big aspect of doing the tour was to see how far i could push my playing. to my surprise, at the end of the trip my playing had not really changed that much. it was more that my facility on the instrument was better and that my compositional ideas were more refined. it wasn't until a few months later, in a performance with james coleman and sean meehan that i noticed some things were really changing.
i come from a jazz background and the idea of "the continumm" and all of that, origionally being more interested in the ornette coleman and charles mingus end of things and soon after, albert ayler and charles gayle. i studied with yusef lateef in college and in my way became a bit too obssessed with what he often talked about: "having your own sound." "what the hell does he really mean?" i wondered, my brain throbbing. daunted but still prodding, after graduating i moved to boston and went to berklee school of music for a year. it was in boston that my musical world (aka jazz) was obliterated. twisted village opened up and i met greg kelley. these two sources introduced me to whole worlds of music which had been either alien or completely unknown to me. i had to face the fact that i could no longer have all my eggs (by any stretch of the imagination) in "the continuum" concept basket.
the cover of the cd is a painting by my grandmother of my father and his brother and on the cd itself is a picture of me with my grandmother from when i was four years old. with the packaging as it is, i am trying to present a work that is not of, what seems to me to be the traditional "monolithic modern art" school which in some fashion claims to be disconnected and "objective". while i'm of course simply trying to document aspects of the technical and compositional techniques i have been working on, i am also saying that as "abstract" as the sounds may seem they are indelibly linked to from where i have arrived. i also like having two people on the cover of a solo album and i am very fond of the painting... -david gross
“called "one of boston's steadfast explorers," by the boston globe, saxophonist david gross has been performing for nearly a decade. among a slew of others whose names are perhaps not as recognizable, mr.gross has performed with le quan ninh, eddie prevost, steve roden, john olson, gino robair, martin tetreault, kaffe matthews, glenn spearman, raphe malik and many members of the boston free-improv scene including bhob rainey, greg kelley, and laurence cook.currently, gross is transforming the saxophone into exactly what it is: a metal tube with keys, mouthpiece, and a reed. reviews of his recordings have been as varied as "the range of textured noise that he cajoles from his instrument is impressive" to "lengthy episodes of fingernails ripping at a blackboard". he has performed throughout the us including at festivals as diverse as the knob(wichita, ks), big sur festival of experimental music(ca), high zero(baltimore, md), improvised and otherwise(nyc), the no idea fest(austin, tx) and autumn uprising(boston, ma) which he created in 1997. future releases include a studio recording with james coleman(theremin), mike bullock(contrabass) and steve roden(electronics).” |
|
|