Label: Constellation - CST110-2

とんでもない境地、激ヤバです！！アフリカ系アメリカ人のアルトサックス奏者および作曲家として動き、また実験音楽の視点からアメリカジャズの再定義を行う激ヤバ女性プレイヤーMatana Roberts！！彼女が実験的スコアを用いた演奏や歴史的物語、パフォーマンス劇場を一体化させるという巨大編成マルチメディアプロジェクト"Coin Coin"の第三弾となる[Chapter Three: River Run Thee]。これ以前の過去の大所帯編成録音とは異なる、真骨頂に辿り着いたかのようなエレクトロニクスを多用しまくる完全ソロ音源となっており、フィールドレコーディング、スポークンワード、現代音楽、サウンドアート的アプローチまでを飲み込んだ完全なるアヴァンジャズ(?)。試聴の通り多重録音が多い為、もはやコラージュと言ってもいい程の異端さ。CD & LPフォーマット版あり。この音楽家は大推薦です。







Matana Roberts is one of the most acclaimed, socio-politically conscious and aesthetically intrepid avant-jazz practitioners of the 21st century. The critical accolades for her multi-chapter Coin Coin work place her at the vanguard of stylistic innovation and radicalization, while confirming the deep substance and soul that guides her compositional agenda. Roberts has long employed the phrase "panoramic sound quilting" to describe Coin Coin, and with this third chapter in the series she implements this metaphor most overtly, creating a sound art tapestry from field recordings, loop and effects pedals, and spoken word recitations, alongside her saxophone and singing voices. Coin Coin Chapter Three: river run thee unfolds as an uninterrupted album-length flow, in what Roberts calls "a fever dream" of sonic material, inspired by a solitary research-based road trip Roberts took through the American South in early 2014. Fragments of traditional song are the album's main touchstones, with Roberts' singing voice riding atop waves of radiophonic texture, layered spoken word, and an often dislocated, wandering horn. It is the first explicitly solo work in the Coin Coin series, and a fascinating extension of the cycle; yet another adventurous, socially engaged definition of what Jazz can mean in this day and age.