15.9.05
Amigos em Los Angeles (ou em trânsito para a Disneyland com a criançada), saibam pois que no REDCAT (Roy and Edna Disney/CalArts Theater), organização daquela cidade californiana, nos dias 30 de Setembro e 1 de Outubro próximos (sexta e sábado), há Electric Ascension ao vivo: Chris Brown, Nels Cline, Fred Frith, Ikue Mori, Don Robinson, Otomo Yoshihide, Carla Kihlstedt, Jenny Scheinman e o Rova Saxophone Quartet._Electric Ascension_: OrkestRova L.A. Plays John Coltrane's _Ascension_
The Rova Saxophone Quartet is augmented by guitar luminaries Nels Cline and Fred Frith and other guest artists for a brilliant new interpretation of John Coltrane’s _Ascension_--the monumental 1965 piece that stands as one of the key watersheds of post-bop free jazz. In addition to Rova’s four reeds—-Bruce Ackley, Steve Adams, Larry Ochs and Jon Raskin—-the 12-piece ensemble features the violins, electric guitars, percussion and an array of electronics, samplers and turntables of guests Jeff Gauthier, Earl Harvin, Ronit Kirchman, Tom Recchion and Mark Trayle. The two performances at REDCAT mark the 40th anniversary of Coltrane’s contribution to the emergence of structured improvisation.
Sobre Orkestrova: ELECTRIC ASCENSION, uma obra-prima recentemente publicada pela Atavistic, que não me canso de ouvir e de louvar, escreveram The Wire, All About Jazz e Paris Transatlantic:
«This is _Ascension_’s long-awaited apotheosis and a masterpiece of the truest kind». —The Wire
«Forty years along, _Ascension_ remains a seminal work in the emergence of free jazz. _Electric Ascension_ demonstrates just how far the concept has evolved and been shaped both by years of experience and the advent of new technologies to expand its rich possibilities». —John Kelman, All About Jazz
«The individual and ensemble performances are simply inspired, from Ochs’s opening tenor broadside onwards, and the whole glorious edifice is underpinned by Frith’s marvelously spacious and melodic bass work, which keeps the flame of the original tiny modal cell burning brightly even in the wilder moments. These, when they come, are indeed noisy and ebullient, but genuinely ecstatic rather than par-for-the-course free jazz big band blowouts. Instead of jumping in and blasting the place to pieces, it’s as if the musicians are floating above, able at all times to grasp the overall structure… I like to think that if Coltrane had lived long enough to incorporate live electronics into his music… he would have done so without a moment’s hesitation. The otherworldly textures of the electronics and the Radulescu-like spectra of the violins are perfectly in line with his all-encompassing vision of a planetary music». —Dan Warburton, Paris Transatlantic Magazine
