Reviews that mention Denman Maroney
June 26, 2018
Creative Sources CS 472 CD
Fundacja Sluchaj FSR 10
Although the Polish trio Sundogs is more committed to electro-acoustic interface than the American Flinn/Lytle/Maroney Trio, what appear to be two discs of clarinet-based improvisation is in fact erudite sound research, but divorced from any pretentiousness.
Veterans, Iowa-based bass and contrabass clarinetist Michael Lytle, hyperpianist Denman Maroney and percussionist Stephen Flinn have been involved in this sort of boundary-pushing investigation for many decades having worked with a orchestra-sized cast of musicians, including Nick Didkovsky, Cecil Taylor, Gerry Hemingway, Steve Beresford and Caroline Kraabel to pick a few at random. Many decades younger the Sundogs started improvising a time where electronic and free music, to which the Yanks contributed developments, was as present as Bop or notated sounds. Wrocław-based clarinetist and bass clarinetist Mateusz Rybicki has been working in ensembles with bassist Zbigniew Kozera since 2012. Both have also played with the likes of Peter Brötzmann, Dominik Strycharski and Wacław Zimpl. Equipped with percussion, objects, prepared oven-tray, electronics, cymbals, drums, environment, Samuel Hall is a European-based Melbourne native who besides working with dancers and visual artists has played with Adam Pultz Melbey and Akira Sakata among others. MORE
April 23, 2014
OutNow Records ONOR13
Dom Minasi & Hans Tammen
Strawtogoldpictures No #
Q: When is a guitar not a guitar? A: When it’s endangered.
No one would imagine that the guitar, probably the most popular instrument in today’s world, is any way endangered. But German-born, New York-based Hans Tammen uses that term to describe his instrument, which involves a standard guitar that also functions as controller for live sound processing. These duo CDs outline his interaction with Dom Minasi, who plays what could probably be called a non-imperiled six-string; or Denman Maroney, whose so-called hyperpiano playing involves using different implements to strike the prepared strings to produce unexpected timbres,. MORE
September 9, 2013
Clean Feed CF 279 CD
By Ken Waxman
Double bass master and educator Mark Dresser is known for his ability to stunningly interpret the most advanced notated and improvised music – often in a solo context. However on this, his first quintet date in decades, he shows he can compose and play sounds that are affecting and swinging without neglecting his matchless technique.
While the line-up of trombone, alto saxophone, piano, bass and drums may read like that of a standard bop combo, each of the sidemen is so accomplished instrumentally that the results are out-of-the-ordinary. The most obvious departure from the norm is that Denman Maroney plays so-called hyperpiano throughout, allowing him to expose in-and-outside the frame multiphonics along with expected patterns. Alto saxophonist Rudresh Mahanthappa, who co-wrote “Not Withstanding” with Dresser, is in the Mauger band with the bassist, and his knowledge of Carnatic music helps negotiate the shimmering changes of Dresser’s “Rasaman” honoring a sitar-playing colleague. Trombonist Michael Dessen is established in mainstream and avant contexts; while Tom Rainey and Michael Sarin, who split drum duties, are both sympathetic, un-showy accompanists. MORE
May 28, 2013
OutNow Recordings ONR 011
Pictures of a Quartet
With the saxophone plus rhythm section such a common configuration in Jazz, improvisers must resort to new stratagems to bring some originality to the proceedings. These quartets do so, but in widely different manners. The combo on Pictures of a Quartet for instance, works on melding variants of atonal improvisations with compositional impulses that relate to the background of Italian pianist Sebastiano Meloni. Mind Games on the other hand transforms the quartet symbiosis by building many of the tracks around the unexpected timbres generated by Denman Maroney’s prepared piano and Andrew Drury unusual percussion set. MORE
June 10, 2012
Porter Records PRCD-4063
Clean Feed CF 233 CD
El laberint dfe la memòria
Mbari Musica MBARI 04
Spinning Songs of Herbie Nichols
Leo Records CD LR 632
Something In The Air: Solo Piano Strategies
By Ken Waxman
Solo playing has always been the make-or-break yardstick for pianists of any genre. That’s solo playing not playing solo, an important distinction which differentiates between exhibiting showy breaks and having an overall musical plan for the mini-orchestra this is at his or her fingertips. The solo challenge is more pronounced for improvisers since even if they’re interpreting compositions, originality is the paramount concern. These challenges don’t prevent pianists from trying their hands at solo sessions. But it’s instructive to note that the memorable ones, such as the piano dates here by an American, a Canadian, a Catalan and a Russian, use different strategies to attain matchless quality. MORE
July 8, 2010
Porter Records PRCD 4047
By Ken Waxman
Creative improvising has been produced on instruments ranging from the church organ and bassoon to comb-and-tissue paper and suitcase drums, so why not glass objects? Composer/performer Miguel Frasconi proves it can be done on this notable CD.
Frasconi’s decades of experience using a collection of found and specially tuned glass objects that are bowed, struck and stroked creates polyphonic textures that reference bells, marimbas and even brass and reed timbres. Upping the ante, his performing partner here is Denman Maroney, who transforms a grand piano into a hyperpiano by removing the internal damper and plate to bow, slide, stop and strum the exposed strings with objects such as copper bars, bowls, rubber blocks and CD jewel cases. The resulting textures engage both the strings and their extensions allowing him to play in several tempos and harmonies. It’s as if he’s sounding several stringed instruments simultaneouslyMORE
December 17, 2009
Live At Roulette
Expanding his electro-acoustic expertise to a creation for large ensemble, on this CD German-born, New York-based endangered guitarist Han Tammen presents two mesmerizing suites from his 13-piece Third Eye Orchestra.
Apparently unfazed by the superstition about 13, Tammen doesn’t perform, but instead conducts and arranges in real time. Likewise ignoring the superstitious angle, some of Manhattan’s most accomplished and innovative musicians – and one ringer – handle with aplomb Tammen’s creation which calls for equal facility with improvisation and notated music, acoustic instrumental techniques and familiarity with electronic excursions. Although billed as two, six-part versions of the same piece – “Antecedent” and “Consequence” – it’s a tribute to all concerned that neither version mirrors the other. While the separately titled tracks exhibit certain homogeneity, soloists never eschew individuality even while blending with the others in section work or contrasting passages. MORE
August 21, 2006
The Compass, Log And Lead
Intakt CD 103
LEROY JENKINS DRIFTWOOD
The Art of Improvisation
Mutable Music 17523-2
By Ken Waxman
Welcoming a variety of non-traditional influences, both these string-oriented CDs confirm that 21st Century improvisation has become catholic enough to accommodate more than stereotypical roots influences.
While fiddler Leroy Jenkins is a long-time members of Chicagos Association for the Advancement of Creative Musicians (ACCM), jazzs paramount musical collective; veteran Rich ODonnell is from the legit side of the fence, having spent 43 years as principal percussionist with the St. Louis Symphony Orchestra, been head of Washington Universitys percussion department and director of its Electronic Music Studios. Chinese-born Min Xiao-Fen frequently brings the classical textures of the pipa, or four-stringed Chinese lute to jazz and New music; while prepared piano player Denman Maroney adapts his percussive techniques and intervallic playing to jazz/improv with bassist Mark Dresser and elsewhere to notated music. MORE
July 27, 2006
The Art of Improvisation
Mutable Music 17523-2
Properly labeling his modus operandi here, Leroy Jenkins, jazzs pre-eminent violinist, who has indulged in notated music, leads a quartet exploring the intricacies of improvisation and more.
While fiddler Jenkins is a long-time Free Jazzer, Rich ODonnell hails from the legit world with 43 years as percussionist with the St. Louis Symphony. Min Xiao-Fen adapts the textures of the pipa, or Chinese lute; and Denman Maroney uses intervallic playing to make his prepared piano as much a percussive as a chordal instrument. MORE
October 31, 2005
Cryptogramophone CG 124
Digression on a theme, TIME CHANGES finds bassist Mark Dresser and Denman Maroney amending the voicing theyve developed over the years to encompass other sounds.
Utilizing the unique textures available from Dressers mastery of extended techniques and the timbres from Maroneys hyperpiano a regular pianos strings and soundboard prepared with all sorts of gizmos they make space for understated percussionist Michael Sarin and mezzo soprano Alexandra Montano. Involved with performing contemporary works by Philip Glass and Meredith Monk among others, the New York-based mezzo, functions here as another instrumentalist. Experienced in musicals and operas, she adopts her tessitura to the demands of wordless vocalizing. MORE
April 12, 2004
New World # 80607
SOPHIE AGNEL/OLIVIER BENOIT
IN SITU IS 237
Orchestral and monochordal at different times, the piano is the cornerstone of Western music because of its versatility. But this versatility sometimes limits its adaptability to more experimental music.
Over the second half of the 20th century composers and pianists decided that one way to overcome the keyboards innate conventionality was to prepare the strings with different objects. These two CDs -- one American and one French -- show how these preparations can be used in the context of improvised music. Each is vastly different. American Denman Maroneys quintet is strongly allied to jazz, whereas the Parisian duo of pianist Sophie Agnel and guitarist Olivier Benoit leans towards free music and electronics. MORE
February 1, 2002
Cryptogramophone CG 111
Realistic appraisals of the improv sectors fragile economy mean that even the most accomplished musicians are freelancers, with the idea of having a long-running aggregation like the Modern Jazz Quartet now regarded as pure fantasy.
Thats often unfortunate. For when you compare the empathy, professionalism and exceptional creativity that results from being able to work in even a semi-permanent ensemble like the one featured on this CD, you see whats lost when players are forced into pick-up or one/off groups. MORE
October 31, 2000
What is that noise?" is the usual question asked by those hostile to experimental sound when confronted with a fine session like this. The follow up is often a demand to explain how this seemingly random collection of scrapes, scratches and reverberations could even be thought of as music.
The answer, as Louis Armstrong was once reported to reply when asked for a definition of jazz, is: "If you don't know what it is, don't mess with it."
Simplistic perhaps, but applying one set of standards to a different style of expression is as fallacious as condemning a dog for not having cow horns. Both creatures are domesticated, have a tail, walk on four legs, don't talk and are reasonably loyal and friendly. But no one expects Rover to resemble Elsie, so why should pure improv approximate conventional popular sounds?MORE