Prolific multi-instrumentalist and composer, Elliott Sharp, has been abundantly inventive throughout his three-decade career to deserve our particular attention. His boundless musical universe encompasses completely different styles that include avant-garde jazz, experimental ensembles, free improvisation, noise rock, electronic, contemporary classical, and music for film and opera/theater. The 66-year-old Cleveland native studied several theoretical correlations on music and scientific algorithms, which helped him becoming a first-rate innovator. Unstoppable, he keeps composing with a fierce autonomy and unrestricted creative sense.
On a persistent explorative state of mind, he was responsible for another delicious avant-garde jazz experience …show more content…
“Off-Objekt” is a tragicomic outburst; a disrupted cacophonic razzmatazz colored by vibrant soprano sax trills that efficiently counterpoint with trombone and less often with trumpet lines. On and off, they intersect, taking the form of impactful unisons that also serve to indicate a changing in pace/mood.
Greene’s trombone's extended pitches open “We Control the Horizontal”. He soon gets the company of Jones’ bass before the tune adopts the characteristics of a whimsical march. The bandleader, dominating through breathless attacks on bass clarinet, has the responsive percussion from Altschul underneath, impeccable in his rhythmic incursions. The last third feels like a bizarre carnival parade whose mood shifts to playful in the conclusive two minutes.
The marching pace described above finds a natural sequence in the quasi-military “Ununoctium”, a free-floating cinematic epic that favors collective extemporization. The multi-horn-aggregation principle adopted here can be heard again in “Bbb” whose theme consists of repetitions of a catchy riff. Altschul is on fire on this one, showing off his skittish
On a persistent explorative state of mind, he was responsible for another delicious avant-garde jazz experience …show more content…
“Off-Objekt” is a tragicomic outburst; a disrupted cacophonic razzmatazz colored by vibrant soprano sax trills that efficiently counterpoint with trombone and less often with trumpet lines. On and off, they intersect, taking the form of impactful unisons that also serve to indicate a changing in pace/mood.
Greene’s trombone's extended pitches open “We Control the Horizontal”. He soon gets the company of Jones’ bass before the tune adopts the characteristics of a whimsical march. The bandleader, dominating through breathless attacks on bass clarinet, has the responsive percussion from Altschul underneath, impeccable in his rhythmic incursions. The last third feels like a bizarre carnival parade whose mood shifts to playful in the conclusive two minutes.
The marching pace described above finds a natural sequence in the quasi-military “Ununoctium”, a free-floating cinematic epic that favors collective extemporization. The multi-horn-aggregation principle adopted here can be heard again in “Bbb” whose theme consists of repetitions of a catchy riff. Altschul is on fire on this one, showing off his skittish