James Ilgenfritz – “You Scream A Rapid Language” (infrequent seams, 2019)

“You Scream A Rapid Language” is based on different combos, instrumentation and the basics of contemporary academical music. An album consists of individual pieces recorded by different musicians – it’s “Terminal Affirmative” (Pauline Kim Harris – violin; Alex Cohen – double-pedal bass drum), “Apophenia III: The Index” (Jennifer Choi – violin; James Moore – guitar; Kathleen Supové – piano), “How To Talk To Your Children About Not Looking At The Eclipse” (Margaret Lancaster – flute), “Apophenia IV: A Bell In Every Finger” (Poetry about Cecil Taylor and Muhal Richard Abrams by Steve Dalachinsky; William Winant – percussion; Joseph Kubera – piano; Thomas Buckner – baritone; James Ilgenfritz – contrabass) and “Fanfares For Modest Accomplishments I-V”
(Pauline Kim Harris, Conrad Harris – violins).

Each composition of “You Scream A Rapid Language” is individual, bright and exciting. The musicians are using wide range of playing techniques, expressions, moods and ornaments to create an innovative and rich sound. All music is completely based on free improvisation and contemporary academical music – the evocative, bright and fresh ideas, modern innovations of experimental and contemporary academical music are brought together with impressive free improvisations. “Terminal Affirmative” is written for violin and double-pedal bass drum. Violinist Pauline Kim Harris and drummer Alex Cohen succesfully create a suggestive and driving sound. Shrieky tunes, loud exclamations, hysteric riffs, vital moving thrills, remarkable melodies and dynamic rhythmic section are joined together. Deep bass line, monotonous rhythms, repetitive series going straight to wild culminations, booming sessions, driving solos and impressive free improvisations – that’s the base of the rhythmic section. An interesting combo of violin and drums is made here – both musicians are experimentating on various fields of musical language, especially on rhythmic, sonoristic and instrumental section. “Apophenia III: The Index” is for a trio – piano, guitar and violin. Violinist Jennifer Choi is balancing between impressive riffs, breaking sessions, repetitive series, solemn minimalistic samples, relaxing contemplations, shrieky tunes, virageous transcendental passages, animated glissando and expressive melodies. That finally makes an effort to bright and evocative musical pattern and melody line of this composition. Guitar by James Moore is a source of extravagant ideas and radical decisions. Modern expressions, tremendous culminations, passionate thrills, breaking sessions, sonoristic experiments and expansion of technical abilities – all these elements contain the main base of James Moore’s playing. Terrific melodies, passionate thrills, sharp persecuting sequences, aggressive hysteric mood contrasting to solemn and relaxing contemplations, minimalistic samples, sonoristic experiments and calm pieces – that’s the base of Kathleen Supové piano melodies. A nice, flying and cordial ambience is created in “How To Talk To Your Children About Not Looking At The Eclipse” for solo flute. Sweet lullabies, contemplative meditations, monotnous series, deep calm tunes which going straight to forcing culminations with persecuting shrieky sessions, hysteric tunes and expressive melodies – Margaret Lancaster does her best to create an original, evocative and bright piece of contemporary academical music. “Apophenia IV: A Bell In Every Finger” is a mix of poetry, recitations, excellent vocalisation and interesting instrumental combos. Piano, percussion, baritone and contrabass make a great combo together – expressive driving piano by Joseph Kubera is the key of melody line, colorful and dynamic percussion by William Winant contain a rich and independent rhythmic section, recitations and vocals filled with sonoristic experiments is made by Thomas Buckner. Deep, solemn, ambient and repetitive contrabass is keeping a stable bass line and also is the source of strange timbres, special effects and sonoristic experiments. Innovative vocalisation, effective recitations, exclusive instrumental section and bright musical pattern contain the basics of this composition. The last composition “Fanfares For Modest Accomplishments I-V” for two violins is filled with evocative ideas, dynamic turns and bright contrasts. Pauline Kim Harris and Conrad Harris are expressing wide range of emotions – their music is twisting and dynamic. From sharp, aggressive and dynamic it gets calm and relaxing, passionate and light, luminous, rigorous and frantic, perturbating and evocative. The music is completely based on the main tendencies of contemporary academical music, free improvisation and avant-garde jazz. All music of this album has an expressive, vital and innovative sound.


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