Ingrid Laubrock – tenor sax | Mat Maneri – viola | Max Johnson – bass | Tomas Fujiwara – drums
Tracklist: 1. No.6 Arrival / No.58 Orange Alert 11’02” 2. X04 6’11” 3. No.12 Schitzoid Man (Gemini) 4’49” 4. No.24 Hammer into Anvil 10’34” 5. No.48 Living in Harmony 10′ 46″ 6. The New Number 2 7’33” 7. No.2 Once Upon a Time / No.1 Fallout 14’02”
All compositions by Max Johnson (Max Johnson Music ASCAP). Recorded 20th December, 2012 by Tom Tedesco at Tedesco Studios, Paramus, NJ. Mixed by Eivind Opsvik at Greenwood Underground, Brooklyn, NY. Mastered by Tim Cramer at Cramersound, New York, NY. Design by Oskaras Anosovas. Produced by Max Johnson. Executive Producer – Danas Mikailionis. Co-producer – Valerij Anosov. Partners: Jazz à Luz Festival, Toulouse II University, Jazz à Poitiers
is a suite of music inspired by the 1968 television show starring Patrick McGoohan. I first watched the show when I was about twelve years old, and really enjoyed it, but I was a weird kid who was into 60s British TV. In 2011, I decided to watch the series again, and was instantly and totally inspired by the timeless and forward looking nature of the program. After re-watching the series, I went immediately to the manuscript paper and started sketching some musical ideas based on concepts, plot points, characters, events and the mood of the show. Some of these ideas were finished quickly, some remained just concepts and sketches for months before I figured out how to make them work.
I decided to take the four or five finished pieces and perform them in March of 2012. I had played with Ingrid Laubrock and Tomas Fujiwara a few times informally, and asked the both of them to participate. I had really wanted another voice, and had initially thought of calling a trumpet player for the gig, but when I played with Mat Maneri for the first time that February, I knew that he’d be the perfect player for the project. I fleshed out about five of the pieces and we played our first gig at the Clemente Soto Velez in Manhattan. Russ Johnson, a fantastic artist (and my uncle), decided to make five pieces of art for the concert, and displayed them around the gallery as we performed. That artwork was the inspiration for the design of this disk.
We performed again in June and September of 2012. Each time I fleshed out another of the concepts, and edited the ones we’d already played. By December 2012, I had rearranged and organized the suite, and we recorded it at Tedesco Studios. I’m very proud of the music on this disk. It is meant to be listened to as one long suite. I’m not much of a conceptualist, but I think the music on this disk exceeds what I had originally planned, and really conveys everything that I had hoped to get across. I hope you enjoy the music, and if you haven’t yet seen “The Prisoner”, I highly recommend that as well. — Max Johnson
Bassist Max Johnson
has been building up quite an impressive resume as both a leader and a sideman for a variety of labels. His second release of this year is a collaborative effort with Ingrid Laubrock on tenor saxophone, Mat Maneri on viola and Tomas Fujiwara on drums. You might think that this unit could blow up quite a storm, and indeed they do on a few sections of the recording, but most of the music is given over to slow and atmospheric improvisations. The group shows quite a bit of cohesion and self control in the building of their music, and Maneri’s subtle and patient bowing meshes very well with Ingrid Laubrock who is quite comfortable at low volume and long narrow bands of sound. This is an interesting album, definitely worth picking up if you are interested in patient and slowly developing music that envelops you in a sense of unease. It is all the more powerful when the band really lets loose on more feverish improvisational sections, coming as a shock and keeping the listener on their toes throughout the album, developing the sound of surprise and not knowing what might be around the next corner. — Tim Niland
CD version (incl. shipment cost world-wide)