The album includes 8 original compositions that incorporate a mix of post-modern jazz with 20th century classical composition and American songbook influences.
Recorded August 11th 2016 at Manricks Music Studios, California
Released May 31, 2017
Jacam Manricks- saxophones, synthesizers
All compositions by Jacam Manricks except Ethereal by Joe Gilman and Jacam Manricks
Recorded, mixed and mastered by Jacam Manricks
ABOUT THE MUSIC:
Steve Reid from Sea of Tranquility writes the following on the music of GilManricks.
'As you immerse yourself deep into the mood of Gilmanricks - a collaboration between pianist Joe Gilman and saxophonist and synth-man Jacam Manricks - it's often easy to forget that this deeply involving journey only has two protagonists, such is its intensity. Through the starkness of its arrangements and the emotion behind the performances what is created becomes deeply personal, both in how it impacts upon you and the manner the pieces it contains were created in the first place. Right from the distorted piano strikes that reveal opener "Terra Two-Part", which was partly inspired by "Paterna Terra" by John Hollenbeck, you engage a world of relaxed but forceful moods that insist you absorb and partake in the stories they're trying to impart. The intriguingly titled piece holding a surprisingly evasive feel, that gives mind to a detective uncovering a cunning plot to foil him. It would appear we should expect the unexpected. With pieces drawing their origins from a broad range of sources, Gilmanricks still manages to create a cohesive journey that's intriguing and involving from the off, but which also reveals a host of deeper meanings and intentions the more time you spend with it.'
FROM THE LINER NOTES:
Terra Two Part-
This song is based on a two-part fugue, which is played ‘verbatim’ at the end of the track. The improvisation that morphs out of the prepared piano introduction draws motives from the fugue to create continuity between the two sections.
Alibis and Lullabies-
This is a ballad written for my oldest daughter Lilia. Both the song and her were born within the space of a few days.
This tune is a contrafact -a melody composed on a pre-existing chord sequence- based on ‘How Deep Is The Ocean’ by Irving Berlin. We begin by improvising over the chord changes together then jump into the new melody. Here, key tones from the original melody are enclosed by intervals of a second creating a highly chromatic and wriggly linear contour.
I think we subconsciously channeled the album ‘Folk Songs’ by Jan Garbarek, Egberto Gismonti and Charlie Haden on this track. It is an improvisation based on predetermined harmonies written by Gilman with an improvised melody by myself on soprano saxophone.
There is a Monk-ian flavor here similar to his tune ‘Skippy’ where the chords change nearly every beat and there is an outrageous and at times quirky melody. The shape of the melody is very angular and the harmony is a rigorous re-harmonization of rhythm changes (from for example Gershwin’s ‘I’ve Got Rhythm’).
This is a dodecaphonic (12 tone technique) piece inspired by the ‘multiform works’ of painter Mark Rothko. Savor the sequence of pitches and the spaces in-between them.
Long Ago and Old Fashioned-
The form and harmonic structure of this song is based on the first half of ‘Long Ago and Far Away’ and the second half of ‘I’m Old Fashioned’, both Jerome Kern songs. The chords from the two Kern tunes were re-harmonized and my own melody was composed based on top of the new chord sequence. We call this a ‘combination, re-harmoninization, contrafact’.
Inspired in part by ‘Black Narcissus’ by Joe Henderson and Beethoven’s ‘Ode To Joy’; this track features a reoccurring ostinato pattern in the piano part at the beginning and a tenor saxophone melody thoughout.
top of page
bottom of page