Wild Up, a large modern music collective based in Los Angeles, continues its series of Julius Eastman recordings with three more pieces in this release. A tragic figure – gay, black, and likely suffering from mental illness in an era that was even less open to these characteristics than today – Eastman died young and many of his works were lost, partially lost, or lost and then found. Wild Up did a splendid job with 2021’s Femenine and 2022’s Joy Boy. Here, they continue their interpretation and re-interpretation of Eastman’s fractured catalog.
There is a long list of contributors to this effort, including numerous violinists, saxophonists, and vocalists, along with cello, bass, flute, oboe, bassoon, trumpet, trombone, piano, and percussion. The overall sound is too dense and orchestral to be chamber music but does not resemble traditional classical.
Case in point, the title track leads off with choral shouts, bells, and thick, rising and falling chord patterns. Staccato bursts of high-end notes in the foreground exemplify a characteristic of Eastman’s writing – it exhibits both pain and joy, often simultaneously. He takes a minimalist approach from time to time – especially with passages based on horns and voice that distantly echo Philip Glass – but there is too much variety and busyness in this piece to fit that label. Nonetheless, fans of modern classical will find much to like.
The Moon’s Silent Modulation begins with an ambient, drone-like atmosphere that is cut into with wandering piano, bursts of vocalizations, and strings. There are moments that come across as freely improvised (or at least drawn from complex charts). Just past the halfway point, the nature of the track changes with a percussion break, and then choral, flute, and string excursions move progressively outside and with increasing dynamics.
The album ends with Evil N*****, which is the highlight of this effort. Wild Up does not attempt to hide Eastman’s use of a racial slur – indeed, Eastman used the term to remind us of the construction of an economic system on the backs of slaves. Originally scored for four pianos, Wild Up adapts the piece for a pair of pianos as well as the rest of the group. Collectively, they produce massive clusters of notes in dense flourishes. These repeating themes become more chaotic, strange, and contrapuntal. While evolving to be more sparse toward the end of its 21 minutes, the piece remains angular and unsettled.
This third Eastman volume from Wild Up is so well-packed with ideas that it will take many rewarding listens to process. But do not let that slow you down. At a time when cultures around the world are still wrestling with issues of race, sexual orientation, and mental health, Eastman’s music provides a lens into the jagged emotions of one who could not avoid the associated prejudice. A welcome and needed recording from a nearly-forgotten composer who should be counted amongst the greats of the 20th century.
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