DeutschVerlagKonzerteCDs, Partituren, AGBsKontaktLinks / ReferenzenEnglish

CDs und Vinyl anderer Verlage

JEFF ARNAL & GENERATE RECORDS

Jeff Arnal ist einer der führenden improvisierenden Schlagzeuger auf diesem Globus.
    Glenn Astarita, ejazznews.com


Vinyl

SILVER ASH
Arnal / Block / Dugan
A-Side: Deathless / B-Side: Liveboat

 
zoom
zoom in / out

Aaron Dugan – E-Gitarre, Casey Block – Elektronik, Jeff Arnal – Schlagzeug
aufgenommen 2011 von Seth Misterka im Newsonic Studio, Brooklyn, New York, abgemischt von Jeff Arnal
7” / 33rpm farbige Vinyl-Single, Generate Records 2011

Bestellnummer: gen17
Verkaufspreis: € 9,90


SILVER ASH ist eine überraschend rockige Platte aus der Werkstatt von Jeff Arnal/Generate Records! „Liveboat“ ist noch ein gutes Stück hypnotischer als „Deathless“; den Groove kann man rockig nennen, schon des Covers wegen, das die gute alte „Garage Band“ in Erinnerung ruft. Arnal spielt jedoch höchst unregelmäßige Patterns, die die normale 4/4-Erwartung gründlich in Verwirrung bringen. Bass drum und Snare in ständiger Bewegung mit den von E-Gitarre und Elektronik generierten dicken Klangflächen. Hören Sie selbst! 

 

Runde Geburtstage sind den Plattenlabels oft Anlass, ungeheure, feierliche CD-Boxen zu veröffentlichen. Aber der Brooklyner Schlagzeuger Jeff Arnal entschied sich, die ersten zehn Jahre seiner Generate Records mit drei aphoristischen 7“ Vinylscheiben abzuschließen, die Essenz seines Labels auf drei mundgerechte 10 Minuten-Portionen komprimiert.
    Philipp Clark, The Wire (2009)

 

APERIODIC
Perkins / Parrett / Schulz
A-Side: Air Below Mountains / B-Side: Louder

 
zoom
zoom in / out

Ben Perkins – Bass, Kevin Parrett – Gitarre, Matt Schulz – Klavier, Schlagzeug
Aufnahmen 2001-2009 in Nurnberg, Dayton, Chicago, Brooklyn

7” / 33rpm farbige Vinyl-Single, Generate Records 2009

Bestellnummer: gen16
Verkaufspreis: € 9,90


Rezension:
Ben Perkins (bass), Kevin Parrett (guitar) and Matt Schulz (piano, drums) are fine exponents of a modern type of instrumental apocalypse, playing their instruments as if the news had just broke that the world is exploding within ten minutes. "Air Below Mountains" clangs, zings and sputters, underlined as it is by a massive wall of rumbling harmonic incomprehensibility barely disturbed by string sliding, extreme picking and scattered percussive convulsions. "Louder" — strangely enough given its title — starts as a more rarefied piece, echoes of industrial areas mixing with visions of mean-intentioned, transgendered minimalism whose burnt tissue exhales toxic fumes that no depurator will ever be able to dissolve. Then the true bombardment begins and it's a particularly suggestive one, replete with harsh feedback and ominous glissandos. Do these guys still believe that there is a future? I don't, either. Great stuff.

Massimo Ricci, The Sqid’s Ear

 


 

brooklyn mantra
Diaz-Infante / Arnal
A-Side: Brookly Mantra part 1 / B-Side: Brookly Mantra part 2

 


zoom in / out

Ernesto Diaz-Infante – 12-saitige Bajo Sexto Gitarre, Jeff Arnal – Percussion
aufgenommen von Seth Misterka am 3. August 2006 im Newsonic Studio, Brooklyn, New York

7” / 33rpm farbige Vinyl-Single, Generate Records 2009

Bestellnummer: gen15
Verkaufspreis: € 9,90


Rezensionen:
Arnal’s appearance on Brooklyn Mantra, playing a duo with guitarist Ernesto Diaz-Infante, is a reminder of his eloquent, responsive ear for percussion timbre: as Diaz-Infante fingers brittle rhythm guitar, Arnal’s sonorous percussion floats air through the flickering space, elongating and crushing time as he gropes skins, cymbals and woods for shifting permutations of sounds.
Philipp Clark, The Wire
As it happens in any mantra worthy of respect, this piece — subdivided in two parts, one per side of the 7-inch — evolves over a single entrancing chord, strummed by Diaz-Infante on his 12-string bajo sexto — initially slowly, then a little more energetically, Arnal hitting cymbals and skins with relatively controlled abandon at first, soon shifting into a fairly energetic display of percussive colors. The shortage of instrumental sources is inversely proportional to the cocoon-ish qualities of the resonance generated, though in the second half the drummer introduces a larger quantity of irregular rhythms that do not change the general mood. A congenially diminutive shamanistic experience, to be played loud (and possibly burnt on CDR to be able of setting it in "repeat" mode, which I suspect would increase its mesmeric potential).

Massimo Ricci, The Squid’s Ear


 

MUSIC FOR AN IMAGINARY BAND
Gordon Beeferman
A-Side: No Meat / B-Side: Far Interlude

 


zoom in / out

Gordon Beeferman – Klavier, Nate Wooley – Trompete, Evan Rapport – Altsax, Matt Bauder – Tenorsax, Josh Sinton – Baritonsax, Bassklarinette, Brad Kemp – Bass, Michael Evans – Schlagzeug
Aufgenommen von Scott Friedlander am 23. Mai 2009 in der Italian Academy der Columbia University, New York City

7” / 33rpm farbige Vinyl-Single, Generate Records 2009

Bestellnummer: gen14
Verkaufspreis: € 9,90


Rezension:

"No Meat" is the bastard child of a soundtrack to a deranged Broadway show and a trip through the glorious times of jazz's big bands, the whole arranged by fairly rational-minded Stravinskian zealots. There's nary a moment of quietness, intelligence abounding throughout. The recording quality favors an "all-in-a-room" trait which contributes to the music's pleasant overtones. Same characteristics in "Far Interlude", with a more relaxed vibe — a pseudo-ballad, anyone? — and in general a sombre disposition that adds a further pinch of melancholy to an already rather long-faced score. There are ways of demonstrating dissidence besides making noise: Beeferman's music is perfect in that sense. Beautiful record, too bad it's only a tiny vinyl thing. Participants: Nate Wooley, Evan Rapport, Matt Bauder, Josh Sinton, Brad Kemp, Michael Evans. My heartfelt "bravo" goes to each of them.

Massimo Ricci, The Squid’s Ear


CDs

PAIL BUG
Arnal / Eichmann / Hughes / Weins
1. First Pail / 2. Second Pail / 3. Third Pail / 4. Fourth Pail / 5. Fifth Pail

 


zoom in / out

Dietrich Eichmann – Klavier, John Hughes – Kontrabass, Astrid Weins – Kontrabass, Jeff Arnal – Schlagzeug
Aufnahmen vom 19. Dezember 2009 im Vivaldisaal Berlin, gemastert 2011 von Gunnar Brandt-Sigurdsson, Hamburg

Gesamtdauer: 47:00
CD erschienen auf Generate Records 2011

Bestellnummer: gen18
Verkaufspreis: € 16,90

 
PAIL BUG entstand aus der langjährigen Zusammenarbeit zwischen dem New Yorker Schlagzeuger Jeff Arnal und dem Berliner Pianisten und Komponisten Dietrich Eichmann, deren Duo sich im Dezember 2009 die beiden Kontrabassisten Astrid Weins und John Hughes anschlossen. Die Synthese von Jazz, Improvisation und Neuer Musik beschreibt der Schweizer Komponist Alfred Knüsel als „Musik auf einem Vulkan“.


 

Generate Records 1999-2009
DERZEIT NICHT AM LAGER!
Ein wundervoller Überblick über 12 zuvor veröffentlichte Generate Records CDs mit 4 Bonus Tracks von bisher unveröffentlichtem Projekten. Besonders löblich ist die Wiederveröffentlichung des hervorragenden Stückes „RED“, das 2004 auf einer limitierten Mini-CD erschien, die längst ausverkauft ist!

 


zoom in / out

Mit Jeff Arnal, Gordon Beeferman, Chris Dahlgren, John Dierker, Michael Evans, Ken Filiano, Barbara Fuchsberger, Joerg Hochapfel, John Hughes, Seth Misterka, Anders Nilsson, Lars Scherzberg, Jonathan Vincent, Philipp Wofford sowie Arto Artinian, Ernesto Diaz-Infante, Brian Drye, Dietrich Eichmann, Philip Gayle, Terry McManus, Astrid Weins

Gesamtdauer: 55:43
CD erschienen auf Generate Records 2009

Bestellnummer: gen13
Verkaufspreis: € 12,90


Rezension:

The CD featured in this review is a lovely compilation. Usually this is a format that I pretty much dislike, given the practical impossibility of a true analysis (unless one really wants to waste some precious time by dissecting single tracks) and the customary extreme heterogeneity of the artistic levels implied. Yet this collection of improvisations contains materials so fine that, for once, immunity is granted and an invitation to listening carefully assured, especially if you want to have a precise idea of what this imprint is up to (always at very high standards of musicianship, for good measure). Label honcho Jeff Arnal is obviously present in the majority of contexts, his approach to anything percussive characteristically peerless. The disc's musical scope links the qualities of the best contemporary free jazz and the radical derivations of chamber-influenced music, the (positive) exception being the previously unreleased "Live at CIM" by the trio of Arnal, Ernesto Diaz-Infante and Philip Gayle which ends the program with an entrancing vibe quite similar to the above reviewed Brooklyn Mantra's. Other noteworthy affairs come from the grouping Bodies Of Water (Arnal with pianist Gordon Beeferman) and the two consecutive trios Tripwire (Lars Scherzberg on alto sax, John Hughes on double bass — Jeff Arnal on percussion) and Propele di Katsa (Barbara Fuchsberger, Joerg Hochapfel and again Hughes in a wonderful clarinet-piano-bass setting). A highly recommended sampler, no question about it.

Massimo Ricci, The Squid’s Ear


 

TRANSIT: QUADROLOGUES
Arnal / Misterka / Radding / Wooley
1. strata / 2. walking on fire / 3. the science of breath / 4. flip / 5. rapid eye movement / 6. Z train / 7. meeting ground / 8. time isn’t what you think / 9. speaking in tongues / 10. myrtle avenue revival

 


zoom in / out

Jeff Arnal – Percussion, Seth Misterka – Altsaxophon, Reuben Radding – Kontrabass, Nate Wooley – Trompete
Aufnahmen 18. Dezember 2006 und 9. Januar 2007 im Studio Stats, Brooklyn, New York

Gesamtdauer: 56:58
CD erschienen auf Clean Feed 2009

Bestellnummer: CF143CD
Verkaufspreis: € 15,40

 
Is there anything better than this?                                                Massimo Ricci, im Booklet

“Quadrologues” is the second Clean Feed release by the New York based quartet Transit. This collection of pieces integrates the tradition of jazz and the never obvious approaches to music. Each piece reveals an intelligent design with a clarity of purpose. Static and the hyper activity of free-jazz are equal partners in Transit's compositions. Falling in and out of tradition - Transit has created it's own "thumbprint" that reveals an individual sensitivity within a group consciousness.
Jeff Arnal (percussion), Seth Misterka (alto saxophone), Reuben Radding (double bass) and Nate Wooley (trumpet) contribute choices in the moment - Impulse - Silence – Response - from a rich palette of individual style within a non linear structure. Each moment is unique and unpredictable.
Quadrologues can count itself as apart of a new emerging music - unknown sounds of the 21st century. This collective is informed by decades of experimentation in the trenches of the Avant Garde. Full of risk but quick to reveal the importance of cooperation and the synergy of true dialogue.
In conclusion: this music creates an innovative landscape that mirrors the complexities of the environment from which it emerged.                                                                        - Clean Feed


 

FULMINATE TRIO
Nilsson / Filiano / Evans
1. Floater (Carla Bley) / 2. Road Runner / Coyote (Evans) / 3. The Red One (Pt.1) (Evans) / 4. Sound Fear (Nilsson) / 5. Tiger Variations (Evans/Nilsson)

 


zoom in / out

Michel Evans – Schlagzeug, Percussion und Electronics, Ken Filiano – Kontrabass und Electronics, Anders Nilsson – E-Gitarre und electronics
Aufnahmen vom 12. März 2007 in den T.T.Bunker Studios, Brooklyn, New York

Gesamtdauer: 55:02
CD erschienen auf Generate Records 2008

Bestellnummer: gen12
Verkaufspreis: € 14,90


Rezension:
Fulminate Trio feature Anders Nilsson electric guitar, Ken Filiano on double bass and Michael Evans on drums, with everyone doubling on electronics. Swedish-born guitarist, Anders Nilsson, has been a part of the downtown scene for the past decade and is one of unsung local heroes of jazz/rock guitar. His Swedish quartet, Aorta, has two of the finest jazz/rock discs out that we've heard in many a year. He has also collaborated with Ras Moshe, Tom Bruno and Raoul Bjorkenheim. The Fulminate Trio is Anders' new project with the great East/West bassist Ken Filiano and another unsung hero, MIchael Evans on drums. This fine disc was dropped off nearly a month ago when I wasn't at the store, so I didn't get a chance to listen to it closely until now. All I can say is - wow! All of the five songs are originals, except for the opening track, which is Carla Bley's "Floater." "Floater" is a dark, spooky tune with ominous bass and sly, skeletal guitar. It is difficult to be delicate and dark at the same time, but this piece does do that so well. Michael Evans' "Road Runner/Coyote" is a somber, freer piece with some strong bowed bass, old-fashioned slow-burning jazz/rock guitar and quick-spinning drums. "The Red One" starts off with some eerie static before the trio slowly builds freely and ominously. Soon the trio hits its stride when Ken introduces this great, hypnotic repeating bass line. Anders takes a long, story-telling guitar solo that is most inspiring, tasteful and imaginative. Fusion lovers-watch out, you have a new saviour! I am kidding actually, since Anders' solo is relatively short, to-the-point and doesn't overstay its welcome. One of the things that I dig about this trio is the way they use acoustic bass with electric guitar in a most natural way. There is a long spacy section in this piece that features eerie, minimal guitar, buzzing contrabass and free & fractured drums. "Tiger Variations" has an odd jazz/rock/psych sort of theme, reminding me of the good old early free/fusion days, before pigeonholing forced some to prejudge what they might actually dig if they heard something in a blindfold test. This is a most impressive trio offering that appears to defy categorization and remain engaging throughout.

Bruce Lee Gallanter, Downtown Music Gallery


 

DOG DAY
Aaron Dugan / Jeff Arnal
1. Pyrene / 2. Trickum Shoals / 3. Pisco / 4. Flutter Code / 5. Lenora / 6. Magic Hour / 7. APP / 8. Dead in the Water / 9. Collision / 10. Lisboa / 11. Last Legs / 12. Allenby / 13. Paz / 14. Patch of Yellow and Blue

 


zoom in / out

Aaron Dugan – E-Gitarre, Jeff Arnal – Percussion
Aufgenommen von Matt Coogan am 6. Dezember 2006 bei Solus Music, Glenside, PA

Gesamtdauer: 45:10
CD erschienen auf C3R 2007

Bestellnummer: C3R 013
Verkaufspreis: € 14,90


Rezensionen:

This duo is hooked up! There is strong balance and powerful flow of ideas back and forth. Free rock/jazz?!? No matter what you might call it, these cats are listening and responding quickly and tightly. It is cool to hear Jeff's drums as the lead instrument on a few of these pieces. Jeff plays brushes on "Trickum Shoals" and sets up the swinging sort of groove for Aaron to respond to with a minimum of notes placed just right. Jeff does a good job of bowing or rubbing his cymbal on "Pisco", a rather eerie piece with a minimum of notes used. Each piece involves different structures or textures or combinations of sounds. Some are very short, under 2 minutes, but all seem to say something stimulating. Both Aaron and Jeff change the sound of their instrument or their approach to playing on each piece, selectively coming up with new ideas on each piece. They even come up with a handful of strange, twisted melodies on a few of these pieces. Quite a successful pairing of their talents and often an unexpected delight.
Bruce Lee Gallanter, Downtown Music Gallery
Jeff Arnal is one of the premier improvising drummer/percussionists on the globe. With this newly issued outing, he teams with Philadelphia-reared guitarist Aaron Dugan for some zealous episodes containing fun, frolic and masterful invention. They extend the probabilities of standard duo fare via highly rhythmic jaunts and counterbalancing dialogues. Moreover, Dugan’s odd-tunings and distortion laced maneuvers often complement Arnal’s pulsating rhythmic exercises as they generally expand and contract the free-form element. On “Pisco,” the artists cleverly fuse minimalist like foundations with vivacious sound-sculpting motifs. And in various regions of this disc, Dugan injects a mechanical grunge element into themes, punctuated by Arnal’s sweeping polyrhythmic attack. Then on “Magic Hour,” all hell breaks loose due to Dugan’s whacked-out guitar lines, built upon steely rock chords and Hendrix-like wailing. And the fun doesn’t stop there, evidenced by the guitarist’s echo-laden psychedelic voicings atop the drummer’s pumping beats during the piece titled “Lisbon.” In sum, the musicians breakdown a few genres while adhering to customary free-jazz approaches, all executed with clever methodology that aims to excite one’s neural senses.

Glenn Astarita, ejazznews.com


 

ROGUE STATES
Beeferman / Arnal
1. Split Screen / 2. To Draw Us Near / 3. Limb From Limb / 4. Oh It’s You / 5. Pirouette on a Pin / 6. Three-Wheeled Ride / 7. Sanctum / 8. Auuk / 9. Whirler-Wanderer / 10. In White Haze / 11. Terra Infirma / 12. Rift and Resonance / 13. Enemy Static

 


zoom in / out

Gordon Beeferman – Klavier, Jeff Arnal – Percussion
Aufnahmen vom 22. April und 9. Juni 2005 in den Wombat Studios, Brooklyn, New York

Gesamtdauer: 55:43
CD erschienen auf Generate Records 2006

Bestellnummer: gen11
Verkaufspreis: € 14,90


Jeff Arnal (percussion) and Gordon Beeferman (piano) synthesize avant-garde jazz/improv and contemporary classical traditions of the 20th century into a unique “energized ritual of free expression…music with muscle and appeal” (Cadence Magazine). Since forming their duo in 2000, Arnal and Beeferman have become an integral part of the creative music scene in New York and beyond. Their duo has performed at the Knitting Factory, Music at the Anthology, Improvised and Otherwise (Brooklyn), San Francisco Alternative Music Festival, Philadelphia Fringe Festival, the Tremont Theater and Zeitgeist Gallery (Boston/Cambridge), and other venues for experimental and improvised music. Their first recording Bodies of Water (2001) was praised for its "near-perfect synchronicity... these two have talent to burn" (All Music Guide). In addition to working as a duet, they have collaborated with many other musicians and dancers, including choreographer Estelle Woodward (in the dance/music ensemble Loophole) and saxophonist Seth Misterka (as Rara Avis).

 


 

MEJA
Michael Evans / Jeff Arnal
1. hand me down / 2. fear active / 3. revivify / 4. two hats are better than one / 5. transvection / 6. west shokan slumber / 7. labrador labyrinth / 8. snafu / 9. a perculiar presentiment / 10. opening / 11. with a hint of… / 12. a maze of transparencies / 13. drifting w-peer / 14. treeman suite

  


zoom in / out

Michel Evans – Percussion, Jeff Arnal – Percussion
Aufgenommen von Tom Mark am 9. und 10. Juni 2004 im Make Believe Ballroom, West Shokan, NY

Gesamtdauer: 59:29
CD erschienen auf C3R 2006

Bestellnummer: C3R 008
Verkaufspreis: € 14,90


This is the first album from Michael Evans and Jeff Arnal, a duo of amazing percussionists from the NYC improv scene. Over the course of fourteen tracks, Evans and Arnal display their skill as players and their intuition as improvisers. Such movement! Such vivacity! We're not snowing ya -- this is a fantastic record that you'll want to hear again and again!                                                C3R Records

Rezensionen:
Eschewing bombast and grandstanding, percussionists Michael Evans and Jeff Arnal are sympathetically matched in their sensiblities, creating settings that are not lacking for traditional melodics and harmonics because they fully understand the musical reach of their drums. Born of improvisation sessions, the diversity on these fourteen pieces is striking. A full album experience has been created by smartly sequencing the pieces to create a dramatic arc that celebrates warmth, surprise and adventure. [...] Two drummers create one full and balanced meal.
David Greenberger, Signal To Noise
This music is an experience of gestural freedom that we can elaborate over or simply enjoy as it is, conscious of the fact that we’re in front of serious artistic value from every point of view. Structures and functions subside to unpredictable sketches, colours and timbral weights, the whole continuously shifting in total absence of complications - even if this is far from being an easy listen. Everything that Evans and Arnal play seems to be in logical correlation, whatever the form. Very, very nice!

Massimo Ricci, Touching Extremes


 

TRIPWIRE: LOOKING IN MY EAR
Scherzberg / Hughes / Arnal
1. Constellations / 2. Descent / 3. The Precipice Inside / 4. Hearing Device / 5. Altitude / 6. Your Peculiarity / 7. A Whisper Unknown / 8. Echo from (a) Void / 9. Irradiate / 10. Invisible Rays

 


zoom in / out

Lars Scherzberg – Altsaxophon, John Hughes – Kontrabass, Jeff Arnal – Percussion
Aufgenommen am 13. und 14. November 2004, Christianskirche Hamburg, im Rahmen des Phenomorphonic Festival

Gesamtdauer: 46:30
CD erschienen auf Creative Sources 2006

Bestellnummer: cs063
Verkaufspreis: € 15,40


Rezension:

Considering this is a sax, bass & drums trio, they rarely sound like what one might expect. They seem to be more concerned with odd sounds like bowed percussion, eerie mouthpiece manipulation & breath-like sounds and twisted contrabass explorations. Much of this quiet, spooky and cautious, as if they are waiting to erupt, building sounds a few at a time. You can hear each sound and the selective way each sound is placed. The rewards are (there) waiting for you to enter their world. Fascinating in a different sort of way.

Bruce Lee Gallanter, Downtown Music Gallery


 

TRANSIT
Arnal / Misterka / Radding / Wooley
1. Cortelyou Q / 2. Van Brunt / 3. Gowanus Canal / 4. Sabbath Siren / 5. Brick City part 1 / 6. Brick City part 2 / 7. Journal Square / 8. DerBlatt / 9. Ditmas Park / 10. Red Hook

 


zoom in / out

Jeff Arnal – Percussion, Seth Misterka – Altsaxophon, Reuben Radding – Kontrabass, Nate Wooley – Trompete
Aufnahmen vom 21. März 2001 im Newsonic Studio, Brooklyn, New York

Gesamtdauer: 51:53
CD erschienen auf Clean Feed 2005

Bestellnummer: CF055CD
Verkaufspreis: € 15,40


Was in konzeptionell arbeitenden Improvisationsgruppen manchmal durch graphische Partituren, harmonische Vorgaben und Zeichensysteme erreicht wird – genannt sei nur das klassische „Unit“-Konzept Cecil Taylors – , ereignet sich hier traumwandlerisch in unvorhersehbar bleibendem, spontanem Dialog. Eben dadurch gewinnt die Musik diese Quartetts in aller intellektuellen Meisterschaft ihre große und großartige Ausdruckskraft.
Die vier Musiker sind in vielerlei unterschiedlichen Projekten der New Yorker und der internationalen Musikszene aktiv. Es verbindet sie eine umfassende Kenntnis mannigfaltiger musikalischer Sprachen, die in eine Art musikalisches Weltbürgertum mündet, welches ihnen ermöglicht, sich neben „avantgardistischer“ auch „traditioneller“ Elemente zu bedienen, ohne daß ihre musikalische Aussage jemals in Klischees abglitte. Durch in der Improvisation ungewöhnlich konsequente und akribische Strukturierung dieser Elemente entsteht hochexpressive Musik, die absolut für sich selbst steht.
Ausgehend von Nate Wooleys fesselnder Eröffnung, scheint „Cortelyou Q“ wie ein ausgeklügeltes Tutti-Arrangement, welches sich wie ein organisches Gewebe aus sich selbst heraus ständig erneuert. Nach einer ungewöhnlichen Bass-Einleitung von Reuben Radding entwickelt Seth Misterka in „Van Brunt“ eine scheinbar endlose melodische Linie aus kleinsten Motiven (man möchte sie minimalistisch nennen, was der ganz und gar nicht minimalistischen Musik aber nicht gerecht würde) von frappierender struktureller Klarheit und expressiver Schönheit. Ebenso achte man auf die comicstripartigen Kleinstmotive in Jeff Arnals Schlagzeug und das humorvolle Dreitonmotiv, womit die Bläser „Gowanus Canal“ eröffnen. Durch zunehmend intensivierende Augmentation und Reduktion des Motivs auf zwei Töne im Kontrapunkt zu quirliger rhythmischer Dichte in Baß und Schlagzeug läßt sich ein freejazzartiger Klimax erwarten, der aber nicht eintritt, denn der ironische Aphorismus endet ebenso schnell wieder in einer regelrecht absteigenden Sequenz. Mit „Sabbath Siren“ folgt ein Klangflächen-Aphorismus, der klingt, als hätten halluzinogene Pilze Helmut Lachenmann, Morton Feldman, György Ligeti und Evan Parker für knapp zwei Minuten vereint. Allerdings würde wohl keiner der Genannten den Vergleich mögen.
Trotz vieler Konzerte handelt es sich hier um die einzigen Aufnahmen dieses exzellenten Quartetts. Jedes Stück birgt Geheimnisse, Freuden und Überraschungen, die Sie selbst genießen sollten.

Dietrich Eichmann


 

RARA AVIS
Arnal / Beeferman / Misterka
1. Dust / 2. Conspirators / 3. Hive / 4. Lost World / 5. Basement Scientist / 6. Paraphernalia / 7. Allucidation / 8. Sirens / 9. Recombination / 10. Isthmus / 11. Screw Creature

 

Seth Misterka – Saxophone, Gordon Beeferman – elektrisches Klavier, Jeff Arnal – Perkussion
aufgenommen Dezember 2002 bis Januar 2003 in den Newsonic Studios, Brooklyn, New York

Gesamtdauer: 55:31
CD erschienen auf Generate Records 2003

Bestellnummer: gen09
Verkaufspreis: € 12,90


Kritiken:

"inventive improvisations" Allan Kozinn, New York Times

"... a creative Music work well worth investigating." John Kelman, All About Jazz

" This New York City-based jazz/improvising trio emerges as a cohesive unit, meshing superior technical ability with extreme imaginative powers." Glenn Astarita, Jazz Review

One of the best improv trio dates I've heard in recent memory. The only member of this fine local trio that I know of previously is Seth, who has collaborated and studied with Braxton and runs the great Newsonic label. Strong and highly focused outside improv for a sax/el. piano/drums trio, sometimes somber and laid back, sometimes boisterous and bold. Much of this does not sound improvised as they move together and shift dynamics so well. Each piece deals with a different approach or strategy, quirky and twisted at times, then playful and ultra-cautious at another section. All three players here have much to offer, as each gets a chance to navigate the currents and steer the proceedings. As free as things get, there is a central thread of serious listening and reacting going on here. There is also a nice clarity to the way this was recorded, well balanced and thoughtfully executed. That special magic or organic glue that makes certain improv so successful is at the center of these pieces. Nice work!

Bruce Lee Gallanter, Downtown Music Gallery


 

tripwire
DERZEIT NICHT AM LAGER!
Scherzberg / Hughes / Arnal
1. Labor Sonor (Kule) - Berlin 11/5/01: trio / 2. oaksmus Studio - Berlin 11/7/01: quartet / 3. Grundriß - Hamburg 10/31/01: quintet / 4. oaksmus Studio - Berlin 11/6/01: quartet / 5. oaksmus Studio - Berlin 11/6/01: trio / 6. Kulturhaus Mitte - Berlin 11/1/01: trio / 7. oaksmus Studio - Berlin 11/6/01: quartet / 8. Bunker - Hamburg 10/28/01: trio

 

Lars Scherzberg – Altsaxophon, John Hughes – Kontrabass, Jeff Arnal – Schlagzeug
als Gäste: Dietrich Eichmann – Klavier (2., 4., 7.),
Giancarlo Locatelli – Klarinetten & Alberto Braida – Klavier (3.)
Konzert- und Studioaufnahmen, Berlin und Hamburg, Herbst 2001

Gesamtdauer: 70:36
CD erschienen auf Generate Records 2002

Bestellnummer: gen07
Verkaufspreis: € 12,90


Kritiken:
Tripwire is this trio's second album. It has been recorded fourteen months after Top Floor Encounter and consists of excerpts from a handful of concerts and studio sessions held in Berlin and Hamburg at the end of October and beginning of November 2001, while US drummer Jeff Arnal visited his colleagues... mehr

 


 

Spy Satellite
Dierker / Vincent / Arnal
1. getaway car / 2. dancing with a wombat / 3. hoosick falls / 4. gray patterson / 5. tug boat / 6. shrill clinker / 7. bug out / 8. caterpillar dream / 9. melzo is buzzing / 10. there where there is no other / 11. in the zoo

 


John Dierker - Saxophone & Klarinetten, Jonathan Vincent - Klavier, Jeff Arnal - Schlagzeug
aufgenommen am 23. Januar 2001 in den Wombat Studios, Brooklyn, New York

Gesamtdauer: 60:34
CD erschienen auf Generate Records 2002

Bestellnummer: gen06
Verkaufspreis: € 12,90

 


 

bodies of water
Beeferman / Arnal

1. antipodes / 2. towards winter / 3. entr’acte / 4. i dip my hands once again in the ocean / 5. tribe of machines / 6. distorting mirror / 7. whirlpool and reef / 8. vapors / 9. shark eye / 10. horror vacui

 
 


Gordon Beeferman – Klavier, Jeff Arnal – Schlagzeug
aufgenommen am 12. Mai 2001 in den Wombat Studios, Brooklyn, New York

Gesamtdauer: 44:29
CD erschienen auf Generate Records 2001

Bestellnummer: gen05
Verkaufspreis: € 12,90

 


 

Badlands – Expositions of Freedom...Now!
Siwula / Cherry / Arnal
1. Pica Cato / 2. Freedom of Thought / 3. Vibes / 4. Freedom in Wind / 5. A Gap / 6. Freedom at Sunset / 7. Hi Coo / 8. Freedom of Hope / 9. Good Bye / 10. Freedom of Horizon

 


zoom in / out


Blaise Siwula – Altsaxophon solo  (1., 3., 5., 7., 9.) aufgenommen am 11. Januar 2000 im Kakumondi Studio, Williamsburg, New York
Blaise Siwula – Altsax, Vattel Cherry – Kontrabass, Jeff Arnal – Schlagzeug (2., 4., 6., 8., 10.) aufgenommen am 2. Mai 2000 in der Knitting Factory, New York City

Gesamtdauer: 73:06
CD erschienen auf Cadence Jazz Records 2001

Bestellnummer: CJR 1120
Verkaufspreis: € 12,90

 

 

Generate Records
Ein unabhängiges CD-Label aus Brooklyn, New York, 1999 gegründet von Jeff Arnal.

Zehn Jahre Generate Records!

Interview mit Jeff Arnal in All About Jazz, New York:

“It was the DIY movement that inspired me to create a platform for projects that I thought should see the light of day,” says percussionist Jeff Arnal of his label, Generate Records. “Friends and I used to make cassettes, which we would distribute in small quantities, but the label format and moving to CDs has allowed more people to hear what we’re doing. Having the finished product brings a sort of closure to each project.” The small but vital outlet celebrates its tenth anniversary this summer with an afternoon of music on August 29th at Roosevelt Live. To coincide with the event, a label overview is being released that presents highlights from the indie’s released contributions as well as sampling a few unreleased tantalizing aggregates. Additionally, there will be three 7” singles released by the artists performing at the celebration, comprising the first new Generate titles since May of 2008. Along with the label compilation, these demonstrate the many fascinating and complex sound worlds a Generate release might evoke.
It all began with a duo CDR, now out of print, featuring Arnal’s percussion and Philip Wofford’s tenor saxophone in one of his two appearances in the Generate catalog. “We’d been working together for a couple of years, and we both thought the duo recordings were successful. I sent a fair amount of material to record labels and grew tired of their refusals, however valid the reasons were; We just decided to take matters into our own hands.” This initial foray is represented on the new compilation by the harrowing “In Sink.” It’s a rollercoaster ride through the “new thing” aesthetics in which Arnal was immersed during his graduate studies at Bennington College, with both Milford Graves and Charles Gayle. “I improvised with Gayle every Thursday morning, and we did several concerts together; it was a real pleasure. Graves really got me exploring issues relating to advanced drum set technique—can you play five in your feet against three in your hands?” Working with these two established masters shaped the visceral and technical command evident in Arnal’s playing. Just listen to another duo track, “Downtown Deal,” from the second Generate release. In collaboration with clarinetist John Dierker, Arnal demonstrates the essence of sublimated energy by transferring the scronk and clatter of the 1960s to translucent brushes. The density of the performance is counterbalanced by a sense of timbral transparency, reducing the volume and allowing for each motivic gesture to be heard with clarity, even in the brightly reverberant acoustic.
Contrast these high-voltage explorations with the label’s more introspective recordings, those including pianist and composer Gordon Beeferman being stand-out examples. The duo disc Bodies of Water is represented on the anniversary compilation by the slowly morphing “I Dip my Hands Once Again in the Ocean.” Beeferman’s pianism does not usually reflect the clustered percussives of free improvisation pioneers such as Cecil Taylor or Don Pullen; rather, he explores small scalar ideas, repeating them and then drawing chords from them. Arnal’s playing is a model of contained support, reactive and propulsive by turn but always incorporating enough space and measured silences for Beeferman’s ideas to build naturally and freely. These duos bring to mind Arnal’s collaborations for Leo and Broken Research with Dietrich Eichmann, another free-thinking pianist. In these performances, Arnal exhibits a startling sense of melody, countering the pianistic ideas with pitched material of his own. He relates this aspect of his playing to studies with composer Stuart Saunders Smith. “He really changed my life,” smiles Arnal. “His compositions are quite complex, and his percussion writing is very melodic—I learned a lot from that. Also, both Beeferman and Eichmann are composers in the contemporary classical sense, and they approach the piano in that way, leaving me free to explore the more melodic aspects of my playing.”
The bonus tracks on the anniversary compilation represent projects that simply have not come to fruition in the way Arnal imagines. “Things just fall through the cracks sometimes, and it’s usually a question of finance,” he states. Their appearance on the compilation allows a glimpse into musical associations that Arnal holds in equal esteem. Notable among these is an extract from a live event featuring improvisational iconoclast Philip Gayle, whose album The Mommy Row (Family Vineyard) was one of the best improvised music offerings of 2005. “Working with Philip is great, and I hope that more of the recordings we’ve made will be released soon.
More recently, Generate’s catalog has begun to feature groups that do not include Arnal; the most recent full-length disc came from the Fulminate trio, featuring percussionist Michael Evans, bassist Ken Filiano and guitarist Anders Nilsson. Similarly, two of the new 7” singles also document these departures, expanding the labels sound and focus in the process. There is the fire and brimstone of Aperiodic, a trio including guitarist Kevin Parrett, bassist Benjamin Perkins and drummer Matthias Schultz. Their “Air Below Mountains” eschews the Cecil Taylor homage implied by the title, falling somewhere just outside of 1960s AMM influence, taking a page or two from Throbbing Gristle’s book of delicately distorted textures. “I grew up listening to all kinds of music, and like many others my age, I had a garage band, played punk and experimented with noise collages on a 4-track. I really appreciate the sonic world they create.”
Beeferman’s Music for an Imaginary Band, comprising such fine experimentalists as Nate Wooley and Matt Bauder among others, is also featured on a 7”, providing a rare chance to hear his harmonically rich compositions. Even the one single on which Arnal plays speaks to aspects of his playing as yet under documented by Generate. “Brooklyn Mantra” pairs him with West-coast guitarist Ernesto Diaz-Infante for two improvisations that blend drone with more of Arnal’s melodic percussion. “I’m very proud of these new releases,” says Arnal. “They document long-time musical interests of mine in new ways, and I am enjoying the shorter forms that the music is taking.” Indeed, these three new discs are some of the best the label has produced. They harken back to earlier label efforts, like the projects with Beeferman or material from the group Tripwire, but they also portend a very exciting future for a very consistent independent label.
Marc Medwin, All About Jazz, NY, August 2009


www.generaterecords.net


zurück

© by oaksmus