AMN Reviews: Choi / Sacks Duo – First Set, First Poem, First Response

Choi/Sacks Duo

March 25, 2015 Carnegie Hall
First Set, First Poem, First Response
                                                              by Monique Avakian

Foreward ~ Clouds Parting

photo-42On March 25, 2015, in the Weill Room of Carnegie Hall, the avant-garde jazz musical duo known as Choi/Sacks, offered to us in the first set of the evening, their unique, improvisatory zeitgeist. The set list ranged from composers such as Hank Williams (I’m So Lonesome) to Thelonious Monk (In Walked Bud) to Randy Newman (In Germany Before the War) to Duke Ellington (In a Mellow Tone). Expressions of poems by Ogden Nash and Emily Dickinson as well as various arrangements and rearrangements of folk and children’s songs (by Ives, Copland and the duo themselves) were also offered generously to us in that magical hour.

In Dickinson’s short, four-line poem, the nature of the moon’s wax and wane becomes a metaphor to explore deeply. The reality of perception, the healing nature of natural wisdom, magical facts obscured, yet revealed…even the poets among us are challenged to rise to the call, as many of us are out of practice with the life-affirming dance of ambiguity, having created a culture so mired in the literal.

Talented and bold musicians such as Jacob Sacks and Yoon Sun Choi enjoy taking chances in order to go beyond. This is lucky for the rest of us, as their openness in so doing extends to the listener a path and a way IN.

And such is the singular path that this writer has chosen to take. Keeping in mind that the micro houses the nature of the macro, I am encouraged by forces unseen and familiar to hone in on one selection for this entire write up — namely, the duo’s interpretation of the Dickinson poem, “Each That We Lose Takes a Part of Us.”

in·voke

inˈvōk/

verb

Cupped hands bellow subtle acoustics. Intuitive dials spin. A mysterious and intangible radio warms to distilled frequencies sparked by paradox. The human transistor buried inside, opens, and floods with the crimson tide of emotion…

As encouraged by the artistic processes of a poet (Emily Dickinson) and two musicians (Jacob Sacks and Yoon Sun Choi), it strikes me that enlightenment hinges upon a kind of cultivated intuition. Philosophically, I am referring to the evolved faculty of being able to hold the unity inherent in duality. Musically, this translates into the purity of artistic process held within collective jazz improvisation. Poetically, metaphor telescopes into Zen Koan into haiku into an ancient understanding of WiseChildReallyElder.

For the listener in the Weill Room at Carnegie Hall on March 25th, it was easy to inhabit the soundworld of the Choi/Sacks version of Dickinson’s poem. Jacob Sacks’ fluid up-ended gestures on piano allowed the ear to engage with the sound of wind and, thereby, mesh deeply with the very nature of changeability.

 Not really arpeggiated, not really random, not really unstructured, not really un-free, the pitches somehow became almost irrelevant. Even the rhythm slyly hid beneath the soundfield he created. In telegraphing the essence of change in this elongated, soft and sustained manner, Sacks eventually transformed himself into the grounding anchor of the piece (!). This poetic housing of pairs of opposites allowed not only the music, but even the musician himself, to become a living metaphor, mirroring the layers of meaning held in this short and powerful poem.

Within, upon, around and through this contextual sonic field, Choi’s ever-pliable voice became a lyrical and conceptual conduit, moving between worlds held still at top speed in an ever-shifting stable universe. Her unique and spontaneous phrasing of the poem’s four lines embodied a sort of uber~rhythmic understanding that provided a sharp and pleasing contrast held within Sacks’ streaming feel. Choi’s percussive command of impromptu syncopated phrasing served as a powerful magnet, driving the ear into a deeper understanding of the many secrets held inside complex musical concepts such as rhythmic consonance and dissonance. And mirroring her partner’s illuminatory stance, even the words themselves became subsumed to the primal nature of vocal utterance. Twining further, this abstraction then became it’s opposite, returning us to that familiar, tangible~yet~intangible place of early childhood, where we expressed to others clearly our thoughts and desires, without the need of any kind of formal language.

But, then again, any description of Yoon Sun Choi’s interpretive command is, perhaps, best left to the discerning powers of benevolent ghosts. Every time I hear her, I think about ancestors and Shamans. Reading up, I learn that the ancient Korean shamanistic lineage travels through the female power line. And unlike in many other cultures, the Korean shaman is not going on a soul journey on behalf of the patient, but is holding the healing space of the trance.

Invoking.

The onus is, therefore, on the listener to become an active agent in the moment. Given the level of passivity encouraged by our machine-driven culture, this call to be completely present is as terrifying as it is transformative.

Choi/Sacks Here:

https://yeahyeahrecords.bandcamp.com/merch/imagination-compact-disc-editionhttps://yeahyeahrecords.bandcamp.com/album/soulmateshttp://yoonsunchoi.comhttp://www.jacobsacks.com

Dickinson Poem Here:

https://books.google.com/books?id=_FUbAgAAQBAJ&pg=PT1961&lpg=PT1961&dq=each+that+we+lose+dickinson&source=bl&ots=ElYMgj4Qbj&sig=vgXxf_-gd0XX1LJRmJ4e-pDVPN0&hl=en&sa=X&ei=z-coVZ6LIYPZggSRi4CAAw&ved=0CE4Q6AEwCQ#v=onepage&q=each%20that%20we%20lose%20dickinson&f=false

Monique Avakian Here:

http://rivertownsjazzblogmonava9.blogspot.com/2015/03/about.html

Shaman Studies Here:

http://www.amazon.com/Shamanism-Piers-Vitebsky/dp/book-citations/0806133287

 PS Here:

Of course, the entire evening, both sets, was equally deep, engaging and meaningful. However, I am out of time (for now, anyway).

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Terry Day Interview

From Something Else!:

Terry has been around for as long as … well, as long as most people can remember. He is a multi-instrumentalist, composer, lyricist, painter and poet who has travelled across Europe and Asia and played with countless improvising musicians. During that time he seems to have discovered something of the secret of life. Interviewing him is like getting a lesson in the history of free jazz, delivered by a lively, animated, slightly dishevelled but extremely engaging professor of music.

Our interview began when we met at the Vortex at the agreed time and date. However, Terry felt it was not the right venue — too noisy. So, we found a nearby pub (too bright and noisy), then a café/bar (too busy) and finally a Latin-themed bar on Dalston High Street. Just one table move, and we were settled with cups of tea. I had met Terry Day briefly a few times before and he opened the interview by telling me he did not feel he had a lot to add to our previous conversations. “OK,” I said, “Let’s just chat for a bit.”

Torino Jazz Festival May 28 – June 1

Anthony Braxton
Anthony Braxton (Photo credit: Wikipedia)

This year’s Torino Jazz Festival will feature the following highlights:

MAY 28
18:00 Egyptian Museum Street Academy of Sciences, 6
ANTHONY BRAXTON SONIC GENOME
70 musicians from the United States, Europe, Italy, 8 hours of music, in the halls of the Egyptian Museum.

MAY 30
11:30 Auditorium Torre Intesa Sanpaolo Course England 3
STEVE LEHMAN OCTET
18:00 RAI Auditorium via Gioacchino Rossini 15
PASSION ACCORDING TO MATTHEW JAMES NEWTON
For Soloists, Chorus and Orchestra of the Teatro Regio, jazz trio
Original Music by James Newton
With Roberto Abbondanza and Joe Bellmer
On drums Jonathan Pinson Director: Grant Gershon premiere Original production Torino Jazz Festival

JUNE 1
18:00 Teatro Carignano Piazza Carignano 6
DAVID MURRAY & LYDIAN SOUND ORCHESTRA
Director: Riccardo Brazzale

Taran’s Free Jazz Hour Podcast 09/2015

Mikko Innanen at moers festival 2007
Mikko Innanen at moers festival 2007 (Photo credit: Wikipedia)

From Taran’s Free Jazz Hour:

Edgetone Records
Tor: Drew Ceccato, Sax/ Tommy Babin, B/ Chris Golinski, Dr

Cabages, Captain, &Amp; King: Jon Arkin, Dr: Karl Evangelista, G/ Eli Wallace, P

Kellari Trio: Heikki Koskinen, E Tp/ Mikko Innanen, as, Bari Sax, FL/ Teppo Hauta-aho, B, Cello

VA Fongool
Will It Float: Jon Russell, G/ Steve Beresford, Elec/ John Edwards, B/ Stale Liavik Solberg, Dr, Perc

Cleanfeed
I Never Meta Guitar 3: Elliott Sharp, G

Innova
Nice Folks: Paul Elwood Ensemble

Hannes Buder
Changes Ii: Hannes Buder, G

Editions Mélisse
LA Ligne DE Karman: Jean Kapsa, P/ Antoine Reininger, B/ Maxime Fleau, Dr

Ryan Truesdell
Line of Color: Ryan Truesdell Gil Evans Project

Leo Records
Encounters: Luc Houtkamp, Ts, as/ Simon Nabatov, P/ Martin Blume, Dr

Red Toucan
Extremes: Evan Parker, Ts/ Paul Dunmall, Ts/ Tony Bianco, Dr

El Negocito
Sweet Defeat: Tom Wouters/ Lode Vercampt/ Bert Dockx

Roguart
Angel City: Roscoe Mitchell, Sax, FL, Etc Etc/ James Fei, Saxes, Cl, Etc Etc/ William Winant, Dr, per, Bells, Etc Etc

Jacc Records
Fail Better: Marcelo Dos Reis, El Guitar/ Joao Guimaraes, as/ Jose Miguel Pereira, B/ Joao Pais Filipe, Dr/ Luis Vicente, Tp