“i used to sing so lyrical” is out now on “Astral Spirits Records”. Album was recorded by a trio of great jazz masters – it’s Joanna Mattrey (viola), Leila Bordreuil (cello) and Sean Ali (double bass). Joanna Mattrey is an inventive and creative violist. The improvisations are totally based on synthesis of avant-garde and experimental jazz, free improvisation and contemporary academical music. Extravagant ideas, original, weird, eccentric and modern decisions, the newest tendencies of academic avant-garde and experimental jazz – all these elements are the main bases of these improvisations. Joanna Mattrey had played and collaborated with such great jazz masters like Marc Ribot and the Young Philadelphians, Mary Halvorson, John Zorn, Erik Friedlander and etc. Great and talented cellist Leila Bordreuil likes to investigate new sounds, explore different fields of musical language, construct original forms and get on adventurous and bright experiments. Huge range of strange timbres, moving and bright melodies, spontaneous solos, silent and contemplative pieces or sparkling and vibrant riffs – all these elements are gently get together by using free improvisation and the basics of avant-garde jazz. Leila Bordreuil is playing and collaborating with Marina Rosenfeld, Eli Keszler, Tom Chiu (Flux quartet), Anthony Coleman, Peter Evans, Nate Wooley and other featured jazz masters. Double bassist Sean Ali is fusing together the newest tendencies of avant-garde jazz, spontaneous, dynamic and driving free improvisations and arranged compositions. His music is moody, bright, eclectic, fullfilled with wide range of emotions, effective instrumentation, modern musical language and original sound. Sean Ali is the member and the leader of various jazz ensembles – Natura Morta (with Frantz Loriot and Carlo Costa), PascAli (with Pascal Niggenkemper), While We Still Have Bodies (with Michael Foster, Ben Gerstein, and Flin van Hemmen), Hag (with Brad Henkel and David Grollman), and a string trio with Joanna Mattrey and Leila Bordreuil.
“i used to sing so lyrical” is a mix of contemporary ideas, roots of avant-garde jazz and the newest innovations of avant-garde jazz and academic avant-garde. The musical pattern is especially colorful, enchanting, sparkling and effective. Wide range of colors, moods, expressions, rhythms and sounds is made here. The musicians don’t hesitate to experiment – they’re getting on stunning adventures, effective experiments, bright and moving solos, spontaneous decisions and integrate eclectic, exotic, eccentric, weird or simply crazy ideas. Modern and colorful expressions, experimental, effective and bright instrumentation effect rich musical language. Experimental, specific, rare, exotic and original ways of playing are mixed up to traditional and very well-known playing techniques. The rhythmic section is based on breaking, bursting, eclectic and dynamic rhythmic sessions, who are influenzed by stable beats of traditional jazz, moving and nervous bebop rhythms, calm and lyrical cool, mainstream and contemporary jazz, as well as sharp, extravagant and passionate rhythms of Western Africa, Afroaemerican and contemporary Western Europe academical music. That makes an effort to stable, effective,vibrant and intense rhythmic section. Ornamental, rich and virageous section create colorful and moving background – all kinds of ornaments, passages, abbreviations, strange timbres, special effects and other tunes make an effort to it. The harmonic pattern is dynamic and changing – lightning, bursting, sharp, aggressive, perturbating and radical sequences of disonances are the basics of it. Unusual chords, strange timbres, soft. dreamy, slow and light pieces of consonances bring the contrasting sound. The melody line is the brightest accent of whole album. It illustrates whole musical pattern, makes it energetic, driving and dynamic. It’s also the source of life, energy, radical and contrasting ideas, passions, spontaneous and original improvising. Each improviser is playing differently – their melodies are flowing to the lightning and perturbating culminations or go straight dow to calm, lyrical, silent, solemn or dreamy samples, repetitive series, minimalistic sound and meditative mood. Deep, bright and dynamic viola’s tunes are based on slow or mid-slow melodies. It’s – bright, sharp, extravagant and vibrant. Shrieky tunes, vibrant, driving and perturbating culminations, moving glissando, portato, rubato, ornamental facture, dizzy and flowing passages, or – stable and monotonic tunes: all these elements gently fit together to one place. Cello always is an universal instrument – it’s the source of new, fresh and evocative sound. Fresh ideas, innovative point of view, drastic, ambitious, weird or crazy decisions, ambient, cool, weird and specific timbres who grow directly to luminous, perturbating, persecuting, vibrant, cracking and fantastic culminations – that’s how effective and modern sound is created. Double bass tunes make a stable and tight bass line. It’s gently correlating to heavy, solemn, deep and moving solos, who have nostalgic, sophisticatedm depressive, or – driving, energetic, vivid and festive mood. The music of this album is simply amazing – it’s based on precise and suggestive playing technique, driving playing manner, inspirig sound and modern musical language.