1.Huevos; 
2.iHornet; 
3.Sigh Fry; 
4.Manatee Woman; 
5.Mikromaus; 
6.Jalapeno Diplomacy; 
7.The Mallomar Maneuvre; 
8.Clown Finger.

Personnel: 
Craig Taborn: electric keyboards; 
Ton Rainey: drums; 
Marc Ducret: electric and acoustic guitars; 
Tim Berne: alto saxophone.

In 1996, after years of working under the auspices of indie labels like JMT and Soul Note, alto saxophonist Tim Berne took total artistic control over his work. The first release on his new Screwgun label was Unwound, a sprawling three disc live set documenting his working quartet, Bloodcount.

The freedom Berne earned with this career move made possible a kind of crystalline clarity: the records that followed display his vision in an uncompromising and revealing way. Science Friction is just such a document. It opens with a slippery funk salvo that rides off the beat and refuses to be pinned down. The angular rhythms and percolating energy of "Huevos" persist throughout the record, though the group channels them through various moods and colors. Drummer Tom Rainey, a long-time collaborator, is absolutely key to giving the pulse life—when the music heats up, he works the kit in surprising and unpredictable ways. And during softer moments (as on "Sigh Fry") he seems just as comfortable with quiet, rustling snare work and the occasional shimmer of accent on the cymbals.

But in the end, Science Friction is unequivocally a group effort which relies on each player's strengths. Berne penned five of these tunes; his compositional style relies on a quirky rhythms and open-ended themes that collapse or expand to fit the situation. They require a particular kind of cohesion, where musicians must ride together during organized parts and then blast through boundaries during periods of freer improvisation—without sounding disjointed or (horror of horrors!) predictable at any time. Above and beyond the quartet proper, David Torn receives credits for sound massage, but his role remains enigmatic. Perhaps the idea of being "manipulated, processed, and complimented" renders an invisible logic to the disc. Hard to tell. Maybe that's the point. (You can definitely tell someone massaged "The Mallomar Maneuvre," a one-minute collage piece riddled with glitch and texture.)

Compared to Berne's earlier efforts, Science Friction represents a high-water mark. Berne remains one of the most distinctive voices in modern jazz, who—best of all—seems to have an uncanny ability to assemble sympathetic musical collaborators who share his vision. ---Nils Jacobson, allaboutjazz.com

download:  uploaded 4shared ziddu anonfiles sugarsync mediafire hostuje gett

back

1 	Is That A Gap? 	14:54
2 	The Opener 	14:10
3 	Talk Dirty To Me 	10:21
4 	Eye Are Us 	18:05
5 	Byram's World 	16:15

Alto Saxophone, Baritone Saxophone – Tim Berne
Bass – Mike Formanek
Drums, Instruments [Wu] – Jim Black
Tenor Saxophone, Clarinet – Chris Speed

Some musicians become increasingly concise over the years, aiming to use fewer notes, more succinct tunes. Tim Berne, however, has merely grown out of any inclination to curb -- much less apologize for -- his standard of long compositions (15 minutes is an average length, but 40 minutes isn't unheard of). What's great about these notorious burners, though, is that they don't grow tiresome. The musicians are brilliantly creative and experienced enough not to get lost in all the room provided by these large time frames. Each player has boundless creative energy, matched only by technical ability-- they never seem to tire, only to get more worked up and inspired. In the always-live recordings, Bloodcount constantly morph and shape-shift musical ideas, and keep the compositions breathing through exploitation of the whole range of dynamics: There are sections of whispery brushes and soft-touch saxophone flits (when the sounds of fingers moving on keys are as audible as the tones created); there are apexes of shooting fireballs and bellowing frenzy. As a unit, they can be intuitively tight and inseparable. Conversely, they can be like electrons zipping around the nucleus of a shared mental conception of a composition. As a result, the same compositions turn out differently each time they're played -- notice how songs like "Byram's World" and "The Opener" show up on several albums -- so even if some of the songs on Discretion are familiar, it's guaranteed to be a new listening experience. ---Joslyn Layne, AllMusic Review

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru

back