Keith Rowe / Toshimaru Nakamura - Weather Sky

Enforcer · August-11th-2004, 11:30 AM

This is my first eai experience, and one I was eagerly anticipating. I asked Jon Abbey to select an eai disc for me that had as little to do with jazz as possible. I didn't want to be gradually introduced to the music but rather given a raw dose of something very different. I was not disappointed!

When I opened the disc and started to play it, I was in my car. My immediate reaction was that this would be an unsuitable way to listen to the music. The subtleties could not be appreciated with all the noise. Later, I came to re-evaluate that position, but more about that later. I started to play the first track and somehow missed the reference inside the cover that actually listed the three distinct tracks. For a while, I was under the mistaken impression that it was all just one, long piece. Later, I realized my error.

Track 1 was a real eye opener! My ears were not prepared for the frequency and it was almost uncomfortable for me at first. I recall a comment Jon (I think it was Jon) had made some time ago that the response he had to some live eai music was that he would literally pass out. I couldn't remember the music in question and hoped he wasn't referring to Track 1 of Weather Sky as I negotiated traffic on my drive home...

As a novice to the music, I started subconsciously searching for a reference point within the sounds I was hearing. The pitch of the sine wave was the foundation, I decided. The variations in the sound of the wave were mesmerizing for me. It's almost a hypnotic effect. I started to hear variations in the pitch, little oscillations, and later wondered whether they even existed. For one thing, I was startled to notice how much the sound changed when I moved or even just turned my head a little. Was there really a change in the sound at all, or just my perception? Later, listening to the music at home, I noticed the drastic effect that a change in listening space can make. The room and surroundings are truly a part of the music itself, I decided, which intrigued me even more. I never cared much about that stuff listening to jazz, but here it was significant. I decided that the experience listening in the car, although different and resulting in some detail being obscured by noise, was not necessarily inferior.

As the CD continued to play and I searched for answers to the questions adding up in my head, the subtle changes and rhythmic variations in the wave sound were forming musical patterns. I could visualize them. A lot of this music translates easily into visual images for me. I could picture the wave and the clusters of sound being introduced were like disturbances on a radar screen, like geometric clouds that appeared, shifted shape quickly and then disappeared. It was difficult for me to decipher what sounds were coming from what instrument. Having never witnessed this music being made in person, I really don't know what kind of physical movements are responsible for the sounds. There were a few moments when I could hear what sounded vaguely like the sonic texture of a guitar, but usually the sounds were less descriptive.

The idea that electronics are responsible for so much of the sound I hear is remarkable. There are moments when it's obvious that it's electronic, like interludes that resemble the sound of a dial up modem. But at other times, a sound appears that mimicks something very analog, almost mechanical. The sound of moving parts, like a small lawnmower engine. Taken as a whole, the result is very compelling for me. It's almost like a sound portrait, impressionistically colored with these different sound textures and implying something defined well enough to make a strong impression, but leaving enough to the imagination that everyone probably takes something different away from it. The fact that so many of the sounds on the disc resembled the sounds of life that surround us reinforced my suspicion that background noise isn't necessarily against the spirit of enjoying the music.

There were a few specific interludes that really stood out for me. During the early part of track 1, there is the introduction of a very rich and deep frequency, like a new harmonic layer to the higher pitched wave. It freaked me out a little when I first heard it, it was so deep and created a funny sensation, almost like one of losing control of the listening experience. You know how if you stare at a chain link fence the right way, you start to get that weird, 3-D effect where you're actually out of focus but it looks right anyway? That's how this sonic change hit me. It was like I didn't know how to hear it or how to listen to it. That probably doesn't make sense, but it's thrilling to hear such a new sound.

Another was the end of track 2. I would dare call this passage "funky." There are some rhythmic phrases that are creatively layered to imply different percussive patterns being played in different tempos but in rhythmic harmony. I have no f**king idea what instruments were responsible for those sounds, but I loved it.

Finally (there's much more, but I'll keep this under 100 pages), the adjustment of the sine wave that makes it sound like it's accelerating always tickled me. I loved the way this sound was manipulated. The pitch doesn't seem to change, but the oscillating rhythm seems to slow down and speed up, and it serves an almost percussive purpose. While the sounds are layered in a way to suggest harmonic ideas (the low frequencies are sort of like the bass in jazz, to my ears, while the upper frequencies round out the sound and go in a different direction), there is constant and subtle change in the rhythm.

Look, I don't know what the f**k I'm talking about. I'm a total novice with this music. But what I'm trying to say is, I loved this CD. Even as I first listened and was almost uncomfortable trying to accept some of the sounds, I was already enjoying myself. This music really isn't like jazz in a traditional sense, but I think it very much is in the spirit of jazz. The improvisation is undeniable. The minimalism appeals to me, although in traditional jazz it isn't normally a quality I seek out. As a drummer, I'm acutely aware of the importance of making a musical statement as concisely as possible, and this music follows that course in great style, IMO.

I'm hungry to listen to this disc, more and more. I've had limited time with it so far, and I'm hearing new things every time I spin it. Not just a few things, but it's almost like I missed entire passages or something, there's so much to hear.

I hope some of this made sense.

An excited new listener and fan of the music,
Larry

Steve Reynolds · August-11th-2004, 11:38 AM

this is the best review I have ever read about this music

part of the reason is that I am fascinated in hearing what people new to this music think about it - but it is quite similar to some of my first listening experiences with eai and AMM.

Larry:

get AMM's "Live in Allentown" - closer to jazz - but remarable in a toallty different way than "Weather Sky" as you will know what instruments are making the sounds and due to the fact that the *great* Eddie Prevost is almost playing jazz drums and the listener can almost hear Keith Rowe fighting with him via his sounds - and it also has the bells........

thank you, Larry Nagel

Jon Abbey · August-11th-2004, 11:43 AM

wow, really interesting! I'm on my way out now, but one thing quickly...

Quote:

Originally Posted by Larry Nagel

I recall a comment Jon (I think it was Jon) had made some time ago that the response he had to some live eai music was that he would literally pass out. I couldn't remember the music in question and hoped he wasn't referring to Track 1 of Weather Sky as I negotiated traffic on my drive home...

it was actually very close to this, Toshi's music in general, at least at that point in time (late 2002). Toshi's set with Sean Meehan here was the only one I actually passed out during (as Steve Smith can attest to), but I came close during the Rowe/Nakamura set in Tokyo. what was even more interesting was that when Toshi came here and we were listening to all of the festival recordings very closely to try to decide what should be included in the box. while we were listening to the duo set of Keith and Toshi, Toshi passed out very deeply on my couch, the only time he did that the whole week he stayed with me. very powerful stuff...

Brian Olewnick · August-11th-2004, 11:48 AM

Whether it's the "best" review I've ever read on this type of music, it's certainly the best I've read from someone newly coming into it! Excellent listening and reporting, Larry. You not only homed in on many of the specific sonic aspects of that recording, but also on some important general issues (such as whether or not one's own physical movement while listening is part of the music, exterio noise, etc.).

Congrats! You should try to get to Chicago when Keith plays there in September.

Sergio Zamora · August-11th-2004, 01:11 PM

Wow, that's a great review, Larry. I think you covered a lot of the stuff we have talked about, in one way or another, about this music. I'm glad you dug the CD, which is probably my favorite of the last five years or so, any genre.

walto · August-12th-2004, 07:13 AM

Nice job, Larry.

al j · August-12th-2004, 09:03 AM

I could give scientific answers to some of those questions regarding the physics of sound, but it would bore you to tears.

I enjoyed reading that, Larry. Fun stuff, ain't it?

frankiepop · August-12th-2004, 06:55 PM

well, let's all have a big hug fest for Larry and give him a pulitzer!

sonic1 · August-12th-2004, 07:13 PM

Open up and bleed that wallet Larry! There's lots more...

What I want to know from Jon, and others, is what would you tell Larry as far as what other labels to check out to continue his exploration. Of course there is a lot to check out on the Erstwhile label...

Jared

al j · August-12th-2004, 07:26 PM

Quote:

Originally Posted by sonic1

What I want to know from Jon, and others, is what would you tell Larry as far as what other labels to check out to continue his exploration. Of course there is a lot to check out on the Erstwhile label...

Jared

These are the most interesting labels to me these days: Creative Sources and Antifrost. Antifrost has put out a few fantastic sampler discs that I'd recommmend to anybody. Great way to check out new artists. Coti K and Nikos Veliotis' TEXTURIZER from that label is the most satisifying thing I've heard in the last year, perhaps in any genre.

Sergio Zamora · August-12th-2004, 07:30 PM

Quote:

Originally Posted by sonic1

What I want to know from Jon, and others, is what would you tell Larry as far as what other labels to check out to continue his exploration. Of course there is a lot to check out on the Erstwhile label...

While not everything is necessarily gold on these, Rossbin, Potlatch, Improvised Music from Japan, Zarek, Hibari, TwoThousandAnd, Amoebic, Matchless, and Grob come to mind.

frankiepop · August-12th-2004, 07:51 PM

wow, 3000 zamora hits a personal milestone here...goood job!

al j · August-12th-2004, 08:06 PM

Quote:

Originally Posted by Sergio Zamora

TwoThousandAnd

another very consistent label

Sergio Zamora · August-12th-2004, 08:10 PM

Quote:

Originally Posted by frankiepop

wow, 3000 zamora hits a personal milestone here...goood job!

I do what I can.

Brian Olewnick · August-12th-2004, 08:37 PM

Generally speaking, I'd also recommend checking out those darn Australians, particularly Philip Samartzis, Oren Ambarchi, and anything on the fledgling Naturestrip label (the new one by Toshiya Tsunoda, "scenery of decalcomaia", is tasty.).

Sergio Zamora · August-12th-2004, 08:43 PM

Oh yeah, and For4Ears

Vince Kargatis · August-12th-2004, 10:49 PM

Quote:

Originally Posted by Joe Christmas

Coti K and Nikos Veliotis' TEXTURIZER from that label is the most satisifying thing I've heard in the last year, perhaps in any genre.

Nikos is a good friend of mine, from my stay in Athens; I've seen him and Coti K many times. I actually saw him last minute at a gig in DC recently with David Grubbs. Unfortunately, his website isn't coming up, but if it does, drop him a line about the above, I'm sure he'd appreciate it. He was one of the main drivers behind whatever interesting improv events happened in Athens, at the Small Music Theater (Mikro Musico Theatro).

MRS · August-13th-2004, 09:12 AM

Tell Nikos he is fucking awesome. More Texturizer!!!

al j · August-13th-2004, 09:41 AM

Nikos and I exchanged a few nice emails following a review I'd written of that disc, Vince. Seems like a super-nice guy.

Gary Sisco · August-15th-2004, 08:56 AM

Great review, Larry. Better than many I've read by writers immersed in this kind of music. Good one.

frankiepop · August-15th-2004, 10:24 AM

sisco and others, now who wrote a better review for 'weather sky' ole or larry?

i'd post ole here for quik comparison, but allmusic is just a net nitemare rite now.

Enforcer · August-16th-2004, 03:27 PM

I'm flattered that some of you liked my review, thanks for the nice words. I think my next purchase will be an AMM, since so many have recommended it.

No "Ole,"
Larry

Sergio Zamora · August-16th-2004, 03:42 PM

frankiepop,

Ollie's review can be found hea:

http://www.erstwhilerecords.com/cata...018_review.asp

frankiepop · August-16th-2004, 10:21 PM

let me floor everybody:

i suggest that you go back to erst and get duo for doris

a dble cd of tillbury and rowe...2/3 of amm

many might agree altho ole will have an eruption

for this recommendation and try to steer u unwisely to a bill laswell cd.

Brian Olewnick · August-17th-2004, 08:13 AM

No eruption from me. Still one of the finest pieces of music I've ever heard.

Nathaniel Catchpole · August-17th-2004, 08:56 AM

Larry let me just add a recommendation for some AMM. The two I see recommended most are usually The Inexhaustible Document and Newfoundland (the first of those is also the first AMM I bought, along with AMMMusic).

walto · August-17th-2004, 09:47 AM

Quote:

Originally Posted by Brian Olewnick

No eruption from me. Still one of the finest pieces of music I've ever heard.

I know you Brian, and if you really meant this you would have said "VERY finest." Talk about damning with faint praise!

Brian Olewnick · August-17th-2004, 09:51 AM

I'm trying to temper my unseemly displays of enthusiasm.

frankiepop · August-17th-2004, 05:43 PM

you used 'very' in your laswell review...

crawjo · August-18th-2004, 01:17 AM

Larry,

I just wanted to say that this was the best review I've ever read at JazzCorner, and I've read some good ones. Wonderful job. Thank you for taking the time to elaborate and dissect your listening experience.

I've become a big Erstwhile fan, but I'm afraid I'm one of the pussies who needed a bridge from jazz. I still haven't heard Weather Sky, or any of the other sine wave recordings. I have this fear that listening to it will damage my ears or something. A question: when the music ended, what was that experience like? Did your ears hurt, or did you find that listening to Weather Sky made you more sensitive to life's "ambient noises," or maybe both?