Jazz Genre • Page 56

OhTheWater · Oct 17, 2025

That new Necks release is a little daunting for me, but I went back to Sex and really loved it

Wharf Rat · Oct 17, 2025

OhTheWater said:

That new Necks release is a little daunting for me, but I went back to Sex and really loved it

It's worth it imo. Treat it as 3 records if you have to. Especially that second track that's three takes on top of each other...loved it

OhTheWater · Oct 17, 2025

Wharf Rat said:

It's worth it imo. Treat it as 3 records if you have to. Especially that second track that's three takes on top of each other...loved it

Yeah disc 1 was really great, my first introduction to them. I need to carve out some time for the other two

OotyPa · Oct 17, 2025

yeah I'm still working through the new one, so damn good.

all their stuff is great

Wharf Rat · Oct 18, 2025

OhTheWater · Oct 23, 2025

Watching Let’s Get Lost on the Criterion Channel

Wharf Rat · Oct 23, 2025

banger. the 'beat switch' about halfway through is so good

jdr2187 · Oct 24, 2025

Wharf Rat · Oct 24, 2025

Wharf Rat · Oct 24, 2025

cshadows2887 · Oct 24, 2025

I'm sure most people would only tangentially call it jazz, but found the two big Manhattan Transfer albums on vinyl for super cheap and this is weird I can appreciate.

allagory · Oct 24, 2025

I just listened to bridge the gap by Nas I hope that counts

Wharf Rat · Oct 27, 2025

RIP Jack DeJohnette one of the GOATs

PauLo · Oct 27, 2025

He played on Bitches Brew, On The Corner and Jack Johnson. A legend. RIP.

Wharf Rat · Oct 27, 2025

Wharf Rat · Oct 27, 2025

Wharf Rat · Oct 27, 2025

Wharf Rat · Oct 28, 2025

Wharf Rat · Oct 29, 2025

This is soooo good its insane

Wharf Rat · Oct 30, 2025

Cool record from the bandcamp best jazz of the month - reminds of Don Pullen

Wharf Rat · Oct 30, 2025

Also loving this one - what if Pete Cosey over Reese Bass?

PauLo · Oct 31, 2025

New Makaya is fucking great. Because of course it is.

Collected all the EP's together into a playlist...

The Lucky Moose · Oct 31, 2025

https://spotify.link/acDS62S5UXb

This album

OotyPa · Nov 5, 2025 at 6:34 PM

This is wonderful

Wharf Rat · Nov 6, 2025 at 7:08 PM

Really cool record:

I’ve always been captivated by the night sky, endlessly wondering about what lies beyond. Amidst the vast expanse of stars, there is a sense of balance and symmetry that fascinates me—an order within the chaos. The innate patterns of the constellations sparked my curiosity, prompting me to explore how these celestial forms might be translated musically.

In the summer of 2024, I developed a process that allowed me to collect pitch and numerical data from constellations. I overlaid the shapes of constellations onto a circle of fifths, intrigued by whether the symmetry of the constellations could translate into musical symmetry—whether harmonic or melodic. The circle of fifths is already a highly symmetrical structure that organizes pitches in a sequence. By mapping the constellations’ shapes onto this circle, I discovered new relationships between pitches, chords, and even key signatures. These relationships emerged purely from the constellations’ symmetry, not from traditional music theory.

To my surprise, many of the pitch collections I gathered were harmonically consonant and “made sense” from a theoretical standpoint. The material I collected became raw material for my compositional process. Most of the pieces on this record are entirely based on the data I gathered, with each composition drawing from the unique patterns of the stars. I also explored the mythology behind each constellation—some well-known, others less so—but all rich with history and inspiration for generations of artists.

Since it was summer, I was naturally drawn to the constellations surrounding the Summer Triangle, often observing them through my telescope. Some of the constellations featured on this record share stars that form part of this iconic stellar pattern.

The five constellations explored on this record are: Antlia (The Air Pump), Aquarius (The Water Bearer), Andromeda (The Chained Woman), Lyra (The Lyre), and Aquila (The Eagle). Also included is a composition inspired by the essence of this work, rather than any specific constellation: “When You Stare Into The Abyss.” As part of the compositional process, I created two graphic scores: “Citlalli I” and “Citlalli II.” During the recording process, the ensemble improvised a version of each score, and this material was used to shape the electroacoustic track “Citlalli.”

The sonic palette for this record is inspired by my background in classical music and in new music, combined with the sonic possibilities of jazz rhythm section instruments. My musical education was shaped significantly by my roles in orchestras, percussion ensembles, and chamber music groups. My first professional job as a musician was as the timpanist for a state-funded orchestra in Mexico. This path led to other orchestral positions, eventually bringing me to the U.S.

Although I later shifted toward improvised music, I continue to draw inspiration from orchestral works, including compositions by Brahms, Debussy, Dvořák, Stravinsky, Copland, and more. As a percussionist, I had the opportunity to lead my own percussion ensemble and also explored contemporary chamber music. These experiences introduced me to groundbreaking composers such as John Cage, Karlheinz Stockhausen, and Paul Lansky. Additionally, I draw inspiration from the popular music that influenced me growing up, particularly rock bands and other groups from the mid-to-late 90s, most prominently Radiohead and Soundgarden.

The instrumentation of this ensemble reflects these inspirations. It features a jazz quintet—piano, bass, drums, guitar, and mallet percussion—along with a standard string quartet and also includes an electronic musician. The electronic components take on different roles throughout the record. Sometimes, they function as interstitial elements, while at others they take a more prominent role within a composition, adding another textural layer. On the track “Citlalli,” the electronics take center stage. The piece features improvisations by the ensemble members, based on the graphic scores of the same name. These improvisations merge into a single track, which is then electronically manipulated to create a new narrative.
Although the ensemble blends different styles and traditions, I wanted to treat it as a unified whole. Each instrument plays an indispensable role in the compositional fabric.

As on my previous records, I aimed to challenge conventional expectations of each instrument’s role and expand their sonic palette. For example, the strings might adopt a melodic role, which is more traditional, or they might take on a textural role, creating layers of sound. Ultimately, the sonic possibilities of the ensemble are shaped by the needs of each composition and my overall vision for this project.

As you listen to this music, I invite you to free your imagination and encourage you to look not only inward and upward, but also to seek the light of hope amidst the darkness of the abyss.

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Jazz Genre • Page 56

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