{"id":7900,"date":"2016-10-19T17:54:32","date_gmt":"2016-10-20T00:54:32","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7900"},"modified":"2016-10-19T20:40:24","modified_gmt":"2016-10-20T03:40:24","slug":"recent-listening-cyrille-mchenry-effenberg","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/10\/recent-listening-cyrille-mchenry-effenberg\/","title":{"rendered":"Recent Listening: Cyrille-McHenry, Effenberg"},"content":{"rendered":"

Andrew Cyrille & Bill McHenry<\/strong>, Proximity<\/a> (Sunnyside)<\/p>\n

\"cyrille-mchenry\"Cyrille, a dancer on drums, teams with the intrepid tenor saxophonist McHenry in a succession of duets. Their close listening to one another results in empathy that sustains remarkable quietness, considering that one of the partners is a percussionist. They express their shared sense of jazz rhythm even when\u00e2\u20ac\u201das on \u00e2\u20ac\u0153Seasons\u00e2\u20ac\u009d\u00e2\u20ac\u201dMcHenry applies lyricism and tone akin to that of classical saxophonists. Over the subtle insistence of Cyrille\u00e2\u20ac\u2122s mallets in \u00e2\u20ac\u0153Bedouin Woman,\u00e2\u20ac\u009d McHenry contributes to a mood of mystery that sustains through the fade ending. \u00e2\u20ac\u0153Drum Song For Leadbelly\u00e2\u20ac\u009d is a succession of drum-tenor exchanges on a rhythmic idea. In spirit, symmetry and repetition it, indeed, grows into a performance reminiscent of the great folk and blues artist. Some of Leadbelly\u00e2\u20ac\u2122s 1940 recordings with the Golden Gate Quartet (\u00e2\u20ac\u0153Pick a Bale of Cotton,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Yellow Gal\u00e2\u20ac\u009d) come to mind. In \u00e2\u20ac\u0153Aquatics,\u00e2\u20ac\u009d Cyrille plays brushes so softly under McHenry\u00e2\u20ac\u2122s ruminations, that the saxophonist evidently feels the suitable response is to blow pure air through his horn. It is remarkably effective. Of the 12 tracks, none runs much over five minutes. The last one—five seconds long—is Cyrille saying, \u00e2\u20ac\u0153To be continued.\u00e2\u20ac\u009d Good idea.<\/p>\n

Izabella Effenberg<\/strong> Trio, IZA<\/a> (Unit Records)<\/p>\n

IZA is the predecessor of the German vibraphonist\u00e2\u20ac\u2122s Cu\u00c3\u00a9ntame<\/a>, reviewed here earlier this month. As in\"51xlpujjlol-_ss500\" the Cyrille-McHenry album, percussion plays a principal role without overwhelming the proceedings. Drummer and marimbist Pawel Czubatka and pianist Jochen Pfister are hand-in-glove with Ms. Effenberg throughout. In \u00e2\u20ac\u0153So ist das,\u00e2\u20ac\u009d Pfister, and Czubatka on drums, stir up a crescendo that contrasts with the reserve of much of the rest of the album. Ms. Effenberg\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Meaning of Life\u00e2\u20ac\u009d is reassuringly peaceful and bluesy. IZA seems to be available in the US only as a download but widely available in Europe as a CD.<\/p>\n","protected":false},"excerpt":{"rendered":"

Andrew Cyrille & Bill McHenry, Proximity (Sunnyside) Cyrille, a dancer on drums, teams with the intrepid tenor saxophonist McHenry in a succession of duets. Their close listening to one another results in empathy that sustains remarkable quietness, considering that one of the partners is a percussionist. They express their shared sense of jazz rhythm even […]<\/p>\n","protected":false},"author":2,"featured_media":7901,"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-7900","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7900","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=7900"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7900\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/7901"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7900"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7900"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7900"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}