Home Jazz Tamar Osborn, Yohannes Kebede, Will Glaser – ’44:42′ – London Jazz Information

Tamar Osborn, Yohannes Kebede, Will Glaser – ’44:42′ – London Jazz Information

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Tamar Osborn, Yohannes Kebede, Will Glaser – ’44:42′ – London Jazz Information

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Tamar Osborn, Yohannes Kebede, Will Glaser 44:42
(Pink Mud RDDST001. Album evaluation by Adam Sieff)

One of the artistic and gratifying common occasions on the London jazz calendar, Second’s Discover is a night of improvised music carried out in entrance of a reside viewers at AMP Studios in Peckham. Based by photographer and creator George Nelson in 2020, the format is identical every time with 5 invited musicians taking part in spontaneously improvised units of 40 minutes in duo and trio lineups, earlier than ending the night all performing collectively. The lengthy listing of musicians and spoken phrase artists who’ve already taken half is a who’s who of the UK jazz and spoken phrase scene and contains visiting visitors like Angel Bat Dawid and Ben LaMar Homosexual.

As Nelson stated to John Bungey in a latest London Jazz Information interview (LINK BELOW): ‘That is bottom-up improvisation, a leap into the unknown – infinite prospects, no ceiling, no ground’.

“44:42” was recorded on the ninth Second’s Discover occasion on September eighth 2021, (there have been 34 to date), and is the primary launch on Nelson’s Pink Mud label, arrange particularly to launch them. The musicians are multi wind instrumentalist Tamar Osborn (taking part in baritone saxophone, clarinet and flute), drummer Will Glaser and keyboardist Yohannes Kebede, and their set (which lasted 44 minutes and 42 seconds) was recorded and combined by Curtis Elvidge. It’s launched on March twenty seventh as a vinyl run of 300 items with a digital launch to observe in the summertime.

That is an gratifying and absorbing listening expertise, the music flowing freely by a lot of sections earlier than constructing to an thrilling conclusion. There’s an amazing variation of sounds at play, Kebede’s keyboards vary from analogue, squashy synthesisers and loops to pristine pianos and Osborn’s wind devices cowl the total vary of frequencies. Glaser’s drums sometimes get just a little misplaced within the combine however his contribution is all the time creative, creating highly effective grooves with baritone saxophone punching alongside pulsing synths and bass traces. Simply as efficient are the gentler moments, together with Glaser’s dialog with Osborn’s flute, with Kebede’s keys including heat.


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This works effectively as an album, each in immersive listening on headphones and in a extra ambient setting. It will need to have been exhilarating being within the room because it was taking place, and that is as shut as you will get.

LINK: John Bungey’s interview with George Nelson



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