{"id":9045,"date":"2018-01-29T00:21:38","date_gmt":"2018-01-29T08:21:38","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=9045"},"modified":"2018-01-28T21:30:18","modified_gmt":"2018-01-29T05:30:18","slug":"monday-recommendation-crispell-macdonald-tremblay","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/01\/monday-recommendation-crispell-macdonald-tremblay\/","title":{"rendered":"Monday Recommendation: Crispell, MacDonald, Tremblay"},"content":{"rendered":"<p><strong>Marilyn Crispell, Raymond MacDonald, Pierre Alexandre Tremblay<\/strong>: <a href=\"http:\/\/amzn.to\/2DIolDl\" target=\"_blank\" rel=\"noopener\">Two Duos, Three Trios<\/a> (Bruce\u00e2\u20ac\u2122s Fingers)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-9046\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/01\/41DeUX2xCnL._SS500-e1517202970120.jpg\" alt=\"\" width=\"270\" height=\"270\" \/>The daring American pianist Marilyn Crispell\u00e2\u20ac\u2122s free jazz adventures have more than once been compared to volcanic activity. Here, Crispell joins the Scottish saxophonist Raymond MacDonald and the French-Canadian bassist and electronic adventurer Pierre Alexandre Tremblay. The project\u00e2\u20ac\u2122s tectonic aspects alternate with moments so peaceful that they sometimes verge on the soporific\u00e2\u20ac\u201dbut not for long. That is particularly true in the beginning moments of \u00e2\u20ac\u0153Duo # 1.\u00e2\u20ac\u009d It opens with percussive slaps followed by vague sounds that may be either from Tremblay\u00e2\u20ac\u2122s bass or his digital equipment. Soon, MacDonald appears on soprano saxophone. He and Crispell are off on the first of the album\u00e2\u20ac\u2122s duets, her sensitive keyboard touch ameliorating and occasionally abetting, his chattering exclamations. \u00e2\u20ac\u0153Duo # 2\u00e2\u20ac\u009d finds Crispell and MacDonald in deep musical conversation that incorporates spontaneous mutual phrasing reflecting not only creative compatibility but also uncanny conjunctions of rhythmic like-thinking.<\/p>\n<p>The opening of \u00e2\u20ac\u0153Trio # 1\u00e2\u20ac\u009d is electronic, a bit ominous. A couple of minutes in, Crispell\u00e2\u20ac\u2122s delicate, sporadic piano interjections begin mingling with Tremblay\u00e2\u20ac\u2122s digital sounds as MacDonald\u00e2\u20ac\u2122s tenor saxophone rumbles softly, then not so softly, then insistently. Before the track ends, the tenor melds into ruminations accompanied by wind chimes or their electronic equivalent. Through \u00e2\u20ac\u0153Trio #2,\u00e2\u20ac\u009d bowed bass and percussion dominate. The music is quiet and at the same time active. \u00e2\u20ac\u0153Trio #3 ends the album in an atmosphere heavy with portent that evaporates as the music slowly fades away. The listener\u00e2\u20ac\u201dthis one, in any case\u00e2\u20ac\u201dis bewitched and puzzled, and listens again from the top.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Marilyn Crispell, Raymond MacDonald, Pierre Alexandre Tremblay: Two Duos, Three Trios (Bruce\u00e2\u20ac\u2122s Fingers) The daring American pianist Marilyn Crispell\u00e2\u20ac\u2122s free jazz adventures have more than once been compared to volcanic activity. Here, Crispell joins the Scottish saxophonist Raymond MacDonald and the French-Canadian bassist and electronic adventurer Pierre Alexandre Tremblay. The project\u00e2\u20ac\u2122s tectonic aspects alternate with [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":9046,"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":[5],"tags":[],"class_list":{"0":"post-9045","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-recommendations","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9045","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=9045"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9045\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/9046"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=9045"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=9045"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=9045"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}