Nels Cline - New Monastery

[AllenLowe]

I will give them lots of credit for just initiating this project - though I have to admit that I do feel that, every time I see a "plays the compositions of" or tribute CD it makes me think that there's too many recordings out and that it's time to cut back. There was a thread a few years back in which I got everybody mad (so what else is new?) by complaining about tribute CDs and calling for a moratorium on same. I don't want to start that again here, and I understand that this is much more, at least by intention, though there are certain composers whose work I personally would avoid, as I see their compositions as so intrinsically a part of their performance/improvisational style. Monk, for example, and Herbie Nichols, and also Hill. But I am very curious about it, and would agree that the best thing is a complete re-casting of the work that preserves the composer/performer's intentions while adding something unique (thinking Zorn's Morricone CD, one of the most successful in this genre). Of course, I should talk, as I did a Louis Armstrong CD years ago, and I will admit that it started out, at least a lilttle bit, as a marketing ploy and as an answer to Wynton, Crouch, et al -

[ep1str0phy]

Agreed--as a curiosity, at least, it should be/perhaps is a fun outing. Part of what made the Morricone disc so interesting was how Zorn took no singular tack in his approach to the music (let alone follow the master's pattern); that's about as non-repertory (or, maybe, noncommittal) as repertory music gets.

[jazzbo]

Third time through, and I'm enjoying this one. Nice bass clarinet and trumpet and accordian.

[Bluerein]

Lon: how does an accordian sound? Is he or she a good player?

[jazzbo]

Good player, yes. Sounds very "reedy" a lot of the time, and is used sort of the way a synthesier would be for texture in a more electric setting.

[GA Russell]

Here's what Doug Ramsey has to say about New Monastery i his Rifftides blog today:

Nels Cline

Cline, a guitarist not shy about using electronic enhancement, is one of a small stable of Cryptogramophone semi-regulars. For twenty-five years he has worked in jazz fusion, jazz rock and free jazz, and made occasional forays into folk (with Ramblin' Jack Elliot) and country (with Willie Nelson). Cline's New Monastery: A View Into the Music of Andrew Hill, draws on all of those genres with the exception, perhaps, of country. I say "perhaps," because in the tidal wave of electronics and percussion that engulfs the listener in the final three minutes of "Compulsion" there could be hidden away some little allusion to C&W. That seems unlikely but, then, I've heard it only five or six times.

At the other end of the decibel scale, a delicate rubato duet between Cline's guitar and Ben Goldberg's clarinet on "McNeil Island" contains suggestions that swing may be about to break out. Sure enough, shortly before the three-minute mark, Scott Amendola's cymbals and Devin Hoff's bass begin sliding into the mix. Now, they are Cline's customary band, The Nels Cline Singers, which has no vocalist, plus Goldberg. Soon cornetist Bobby Bradford is aboard, as slippery around tonal centers as he was in the late fifties and early sixties when Bradford, Ornette Coleman, Eric Dolphy and John Carter were enfants terribles of the Los Angeles avant garde.

They meld into "Pumpkin," one of Hill's beyond-boppish themes. It may not be your grandmother's kind of swing, but now they're swinging. On other tracks, Andrea Parkins joins on accordian. Yes, accordian. At times the cumulative sound is so dense that the ears can barely penetrate it. At others, the music is gentle, open and lyrical almost in the Viennese sense or it tends toward the kind of atmospheres generated by Miles Davis of the post-Bitches Brew period. Lack of dynamic range is not a problem here. In addition to Bradford, Goldberg and Parkins, Cline brings in his twin brother Alex on a couple of tracks to ramp up the percussion.

After decades in low profile following his success in the 1960s, Hill has begun attracting renewed attention as a pianist and composer. Cline's treatment of his music may be part of the beginning of Hill's rediscovery by a new generation of musicians and listeners. His approach is not to recreate Hill, but to use his compositions as launching pads for his own ideas, which have depth and complexity.

[GA Russell]

After the Concord sale with its three dollar CDs, everything else seems so expensive!

CD Universe says: List Price $17.98; Their Price $14.29; Pre-Order Price $12.59.

[jazzbo]

Yes, that's why I was very happy to see this available on eMusic for download, was posted last Tuesday or so!

[nathan]

Considering the fact that Andrew Hill, Ben Goldberg, and Nels Cline are 3 of my all time favorite musicians and biggest musical inspirations, I guess I'm the proverbial fish in the barrel for this one, but I still want to take a second to post and say that it meets my sky-high expectations and I'd personally recommend it!

I just picked it up, so I'll have to save a more lengthy appreciation for later, after more listens, but I absolutely love it so far. Beautiful playing all around and incredibly smart & creative arranging from Nels. It's great to hear Bobby Bradford on a new album. Ben sounds brilliant as ever (random related tangent: many years ago I had the privilege of hearing him play Dedication and some another Point of Departure tunes with Graham Connah, Vijay Iyer and others at a Jazz in Flight Eric Dolphy tribute in Oakland. It's great to have his take on some of that music recorded for posterity). I'm curious about some of the comments above about these Goldberg's abilities with challenging harmonic material...maybe you guys haven't heard him playing changes (traditional and otherwise), but I'd certainly be happy to point you to copious evidence of his extraordinary abilities with music of incredible harmonic difficulty and structural rigor. He ain't just a free player (hopefully he'll record with his trio that concentrates on Monk tunes at some point, to further set the record straight, if there remains any confusion).

Incidentally, Ben Goldberg's own Cryptogramophone release from this year -- The Door, The Hat, The Chair, The Fact -- is my pick for album of the year to date and well worth checking out if you dig this (not sure if it's been discussed on these pages or not).

nathan

[Nate Dorward]

Yeah, just got this & it's really, really good. I was initially a bit skeptical because I knew they wouldn't be "playing changes" or following the structure of the tunes for the most part, but actually they do real justice to these tunes. & "Yokada Yokada/The Rumproller" is one of the most sheerly enjoyable tracks I've heard all year.

Cripes, now I'll have to get that Ben Goldberg disc.... Is the title a Creeley quote?

[nathan]

Yeah, that's where that title is from! Ben's explanation (in his excellent liner notes) of how that title relates to his interactions through the years with the late Steve Lacy (to whom the record is dedicated) is really great and personal. As i said above, I'd give this one my highest recommendation, for what it's worth.

[Nate Dorward]

Aha, that's why. I forget the exact poem but it was in Words or Pieces.

[clifford_thornton]

Creeley and Lacy are like peanut butter and jelly...

[fomafomic65]

Lon: how does an accordian sound? Is he or she a good player?

(talking about 'accordianist' and keyboardist Andrea Parkins)

Sure she is a good player.

I heard her live and in the five Ellery Eskelin's trio cds on HatHut. She is a non-vistuosistic player, one that works on harmonies and interplay in a personal skillfull way... I'd say she's pretty interesting and unpredictable.

Edited December 13, 2006 by ArmandoPeraza

[bolivarblues]

I've never been one to place too much stock in CD reviews, considering that in most cases, the reviewer hasn't had enough time to properly sit with a recording. So many of my favorite records took a while for me; at first, I might have been indifferent or even off-put, but for whatever reason I decided not to give up on it. At some point in the future, maybe weeks, maybe months, or even years, that recording suddenly makes sense to you and manages to hit you in that place where all the great records affect you.

I, too, was eagerly awaiting the release of New Monastery, and rushed out to get my copy when it was released. I immediately loved it, and even posted a glowing review on my LiveJournal page. I'm happy to report that nearly three months later, my enthusiasm for this record has not waned one bit. My initial feeling was that this particular recording is special; destined to be a classic. I say all this with cautiously guarded optimism, knowing that a true classic has to hold up and prove itself over an extended period of time. But I believe that New Monastery is well on track.

[.:.impossible]

I've had it for a while now, and for whatever reason, I find my mind wandering away from the music whenever I put this in. I really enjoy listening to most of Andrew Hill and Nels Cline's music, but I have not yet made the connection with this one that y'all have.

[Adam]

up

[Kyo]

I got it from eMusic and as a huge Andrew Hill fan I gotta say it's great!

[.:.impossible]

up

over and out.