{"id":5231,"date":"2013-11-21T17:52:24","date_gmt":"2013-11-22T01:52:24","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5231"},"modified":"2013-11-26T12:21:03","modified_gmt":"2013-11-26T20:21:03","slug":"recent-listening-in-brief-free-scott-robinson","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2013\/11\/recent-listening-in-brief-free-scott-robinson\/","title":{"rendered":"Recent Listening In Brief: Free Scott Robinson"},"content":{"rendered":"<p>In a pair of duo albums the protean Robinson confines himself to 10 instruments from his arsenal. <a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/11\/Afar_cover.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/11\/Afar_cover.jpg\" alt=\"Afar_cover\" width=\"140\" height=\"126\" class=\"alignleft size-full wp-image-5232\" \/><\/a>Alphabetically, they range from alto sax to zither, sonically from the rumbling contrabass saxophone to the altissimo twittering of the sopranino sax. His accompanists are pianists, although in <em>Z\u00c3\u00a1hadn\u00c3\u00a1<\/em> Emil Viklick\u00c3\u00bd also plays organ and solovox and in <em>Afar<\/em> Frank Kimbrough doubles on electronic harpsichord, clavioline and two kinds of organ. As for the music, you were expecting maybe the Great American Songbook? Well&#151;&#151;no.<\/p>\n<p>Robinson, Viklick\u00c3\u00bd and Kimbrough are masters of chord-based invention, but these albums from Robinson\u00e2\u20ac\u2122s <a href=\"http:\/\/sciensonic.net\/Recordings.cfm\"target=\"_blank\">ScienSonic label<\/a> are mostly free improvisation. In <em>Z\u00c3\u00a1hadn\u00c3\u00a1<\/em> there are also musings on a few folk melodies<a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/11\/Zahadna_cover.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/11\/Zahadna_cover.jpg\" alt=\"Zahadna_cover\" width=\"140\" height=\"126\" class=\"alignright size-full wp-image-5233\" \/><\/a> from Viklick\u00c3\u00bd\u00e2\u20ac\u2122s native Moravia. The haunting \u00e2\u20ac\u0153Ej, L\u00c3\u00a1sko, L\u00c3\u00a1sko,\u00e2\u20ac\u009d with Robinson playing C melody sax, is a highlight. Little pieces played with abandon in eight pastiches called \u00e2\u20ac\u0153Honi\u00c4\u008dka\u00e2\u20ac\u009d (Czech for &#8220;chase&#8221;), live up to their title. Altogether, the music is packed with insights into the workings of three unconventional minds. In Czech, \u00e2\u20ac\u0153Z\u00c3\u00a1hadn\u00c3\u00a1\u00e2\u20ac\u009d means \u00e2\u20ac\u0153mystery\u00e2\u20ac\u009d or \u00e2\u20ac\u0153eeriness.\u00e2\u20ac\u009d These CDs have not only mystery, but also wit, profundity and remarkable musical sensibilities interacting with the speed of thought.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In a pair of duo albums the protean Robinson confines himself to 10 instruments from his arsenal. Alphabetically, they range from alto sax to zither, sonically from the rumbling contrabass saxophone to the altissimo twittering of the sopranino sax. His accompanists are pianists, although in Z\u00c3\u00a1hadn\u00c3\u00a1 Emil Viklick\u00c3\u00bd also plays organ and solovox and in [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-5231","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5231","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5231"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5231\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5231"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5231"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5231"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}