Ingrid Laubrock/Ubatuba

Ingrid Laubrock/Ubatuba - Firehouse 12 Records

Lineup

  • Ingrid Laubrock: tenor and alto saxophones
  • Tim Berne: alto saxophone
  • Dan Peck:tuba
  • Ben Gerstein: trombone
  • Tom Rainey: Drums

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Recording track list

 click on track names to listen
 
  1. Any Breathing Organism  10:27
  2. Homo Diluvii                     5:55
  3. Hiccups                           13:23
  4. Hall of Mirrors                   4:15
  5. Any Many                          6:26
  6. Hypnic Jerk                      15:41

Ingrid Laubrock/Ubatuba: release info

Firehouse 12 Records

INGRID LAUBROCK's UBATUBA, Firehouse 12 Records CD  (FH12-04-01-022)

$15 + pp, international shipping rates apply

Recorded September 13th &14th, 2014 at Firehouse 12, All compositions by Ingrid Laubrock (PRS/MCPS), Recorded, mixed & mastered by Nick Lloyd, Graphic design by Megan Craig, Produced by Ingrid Laubrock, Co-produced by Nick Lloyd and Tom Rainey

All compositions by Ingrid Laubrock (PRS)

reviews: http://www.downbeat.com (Downbeat, John Corbett), http://www.freejazzblog.org (Dan Sorrells), http://www.allaboutjazz.com (Karl Ackermann), 

From the press release by Seth Rosner:
Since moving to Brooklyn from London in 2009, Ingrid Laubrock has immersed herself in New York’s music scene, working with some of the music’s most forward thinking composers and performers: Kris Davis and Tyshawn Sorey in the collaborative trio Paradoxical Frog; Mary Halvorson in Mary’s septet; Tom Rainey,her husband, in numerous settings; and Anthony Braxton, as a member of multiple groups including his Falling River MusicQuartet.
This diverse combination of musicians reflects the stylistic breadth to be found in Laubrock’s music and her quintet’s eponymous debut, Ubatuba, embodies her current creative thinking.
The music on Ubatuba inhabits a compositional and structured realm, as much of her music does, but with an ease and flow allowing the camaraderie of the band to come through. Laubrock’s music can be playful and engaging – her sound draws you in slowly, until you find yourself unexpectedly in the middle of her musical imagination. Her music toys with notions of time and meter, often suggesting there is none, only to snap into rhythm in an instant. She uses texture not just as a flourish or color, but as a rhythmic tool, with dissonances adjusting ever so slightly beneath the surface. These signature devices are all present on Ubatubaand yet, what makes this music different from previous recordings is that it was written on the saxophone, strictly and intentionally
without a pianistic reference. The resulting music, grounded in the notion of breath, with a feeling directly associated with air and wind, finds its clearest voice in the selected instrumentation Laubrock chose for the album.
 
The absence of any chordal or stringed instrument opens up the sound and sets the stage for Laubrock (as & ts), Tim Berne (as), Ben Gerstein (tbn),
Dan Peck (tba) and Tom Rainey (dr) to move around one another and weave the music together. By writing single lines for four players,Laubrock allows the band to explore harmony with each member on an equal footing. Throughout Ubatuba rhythmic changes are slightly offset against each other, creating a familiar yet shifting surface and weaving a thick, textural tapestry. The band’s improvisations showcase a group of players familiar with the music and each other, comfortable opening up on their instruments within the framework of the musical world Laubrock has created. At times, the music moves as if through a dream – on the album’s opener, “Any Breathing Organism”, the listener is carried through a fog. The air of the music is thick, broken only by Rainey’s drums, which seem to incite a guttural moan from Gerstein. Traveling deeper into the piece, the logic behind the music is slowly revealed. Finally,
Berne’s saxophone arrives and the piece’s story develops.
 
The group’s evident comfort with each other is the result not only of having played an eight show tour in the US shortly before recording Ubatuba – the members of the quintet are also active participants in what has become one of jazz’s most fertile and exciting scenes. The level of creativity in the
improvising music community around Brooklyn, and the bond between musicians, recalls a time from decades past. This community has helped to shape Laubrock into the composer she is today, drawing from and contributing to it in equal measure. Similar to her time in London’s F-ire Collective, this
camaraderie has emboldened and informed her musical direction.
 
Ubatuba is a mature statement reflecting both Laubrock’s growth as a composer and a leader. Sustaining and touring with a band made up of some of today’s most in demand musicians depends not only on audience appreciation, but on support from the bandmates themselves. The enthusiasm and poise the group brings to her compositions reflects their deep respect for the music. This may well be the recording that documents the beginnings of a group which clearly has more to offer, and introduces Laubrock’s music to a wider audience