Feb 14 2020
Best of 2019 #08: Rebecca Trescher – “Where We Go”
Not all recordings are finished products. Some albums intentionally capture the beginning stages of a concept, where the musicians are fleshing out new compositions in the studio. Some albums capture a transition phase, where recent works are given new perspectives in a live setting, or while on tour. Other albums reflect other stages of creative development, either encapsulating old ideas in new ways or providing glimpses of a view from the next plateau. The 2019 release from Rebecca Trescher is a landing spot. Following thirteen performances over two years during her concert series at Tafelhalle Nuremburg, the clarinetist went into the studio and captured every bit of that creative trajectory into an expansive statement of stunning beauty. The richness of the music reflects not just that time of regimented experimentation, but also of the diverse collaborators of musicians, instruments, dancers, writers, and filmmakers who contributed to that concert series. This large ensemble work possesses a huge sound, as if flirting with the epic, but adheres to a chamber music sensibility, where the subtlest nuance can resonate like a thunder storm. Trescher’s 2012 debut Sud was one of the best things to come out that year; that it was just the starting point makes the success of Where We Go that much more dramatic.
Your album personnel: Rebecca Trescher (bass clarinet, clarinet), Sebastian Strempel (trumpet, cornet), Joachim Lenhardt (tenor & soprano saxophones, clarinet, flute), Markus Harm (alto sax, clarinet, flute), Anton Mangold (concert harp, flute, sax), Juri Kannheiser (vocals), Andreas Feith (piano), Tim Collins (vibraphone), Peter Christof (bass) and Silvio Morger (drums).
Released on Enja Records.
Music from Nuremberg, Germany.
Feb 14 2020
Best of 2019 #07: Allison Miller’s Boom Tic Boom – “Glitter Wolf”
With 2016’s Otis Was A Polar Bear, Allison Miller opened a new door. The drummer’s career to that point was not constricted to just one sound, or solely one territory. A machine-gun style of post-bop or a conversant chatter of pop music accompaniment or a straight-ahead swing were all part of her repertoire, and the combination of versatility and individualism distinguished Miller as one of the top drummers on the scene. But her 2016 recording, inspired by and dedicated to her new child, was something truly brand new… and unexpected. Eliciting the imagery of a childhood fairy tale and powered by a potent dose of surreal melodicism, that recording was a series of magical pieces, all standalone gems in their own right, but made even more electrified when absorbed in its totality as a narrative-driven story. Arguably, it could’ve been named the 2016 album of the year. 2019’s Glitter Wolf builds on that foundation, and the story just keeps growing more fantastic with each new piece. And, arguably, it could easily be considered for the top spot in 2019.
Your album personnel: Allison Miller (drums), Jenny Scheinman (violin), Kirk Knuffke (cornet), Ben Goldberg (clarinet), Todd Sickafoose (bass), and Myra Melford (piano).
Released on Royal Potato Family.
Music from New York City.
I wrote about the album for The Bandcamp Daily.
Listen | Read more | Available at: Bandcamp – Amazon
By davesumner • Recap: Best of 2019 • 0 • Tags: Allison Miller, Ben Goldberg, Jenny Scheinman, Kirk Knuffke, Myra Melford, New York City, Royal Potato Family, Todd Sickafoose, Violin