Mostly Other People Do The Killing pianist Ron Stabinsky joins free jazz saxophonist Jack Wright for a wild session pushing both players into adventurous territory, Stabinsky taking up the trumpet and using dental floss, light bulbs and other objects inside the piano.
Label: Spring Garden Music
Catalog ID: SGM 24
Squidco Product Code: 22517
Packaging: Jewel Case
Recorded at Spring Garden Music Annex in Eason, Pennsylvania in December 2008.
Jack Wright-alto saxophone, soprano saxophone
Ron Stabinsky-piano, objects
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1. This 40:48
2. And That 37:03
sample the album:
"Ron and I began playing together in 2007 with sessions at the house in Easton. I was still often playing minimal sounds and Ron was venturing inside the piano, using dental floss, which he tied to the strings, a 75 foot extension cord, which he never actually used but always brought along, a basket of used light bulbs, and other objects. He can also be heard on trumpet in this session from Dec. 2008."-Spring Garden Music
"Any resolve in Jack Wright's music carries further possibilities along with it. It's why his music moves continuously forward - and never seems to have an ending. Ron Stabinsky's day job is as the pianist in Mostly Other People Do The Killing - and here he joins Wright on piano, trumpet and "objects". Here Stabinsky is given complete freedom to play as "out" as possible - and he leaps at the opportunity. For his part, Wright goes even farther out than on the Meet & Greet recording, creating a total sound object of the saxophone.
Stabinsky's treated piano is all over the map, sounding like a hive of bees - or giant springs being pounded against car parts - while Jack grumbles and farts responses that almost generate actual stink from the speakers. The sounds and pops that are a Jack trademark are met with often beautifully incomprehensible responses from Stabinsky. The dialogue is often quiet, thoughtful; and if a concept like "free math" has never existed, please consider this recording to be a proposal. Logic is a crucial component of these conversations; but to pin the particulars down in any exact measurement would be futile.
Have you ever experienced an epiphany that all is somehow naturally perfect and you'd simply been looking too hard for answers? Perhaps a moment when birdsong, traffic, wind - the sounds of the natural world colliding with man-made "progress" - all sound somehow divinely composed? I'm not going to so far as to say "free math" could be the finger pointing to some universal truth; but it's certainly more interesting than any conceptual system I've encountered. "-Tom Burris, Free Jazz Blog
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