Orchestra Entropy - Rituals
A G Bertinetto at Kathodik
"Musical rituals based on open graphic notation plus inclusion of two tracks, Skelf and Antiphon, from which the solos depart. The two pieces are intended for sub-sub-performances of the entropic orchestra. Skelf is for double bass, drums and electric guitar and it is the latter (played by Moss Fried) that prevails; Antiphon is instead for violin, viola and double bass (and here in particular Rebecca Raimondi to stand out with her violin). Among the soloists, Georgia Cooke's flute and Sarah Gail Brand's trombone are among the most notable. Director and creator Matt London (tenor sax) deserves credit for devising a musical journey with an almost ancestral flavour that gives much satisfaction to the improvisational imagination of the musicians, offering listeners an interesting proposal among jazz avant-garde and contemporary music."
Frédéric Gerchambeau at rythmes-croises
As always with the excellent, if not extraordinary, Discus label by Martin ARCHER, there is bound to be a question of top level orchestra and improvisation of a stratospheric degree. Besides, come on, let's be clear from the start, the Rituals that we are going to talk about are on track to obtain the prestigious BASCA 2018 which rewards in England the best jazz composition for an orchestra. So, what is the originality that makes these Rituals, by composer Matt LONDON, so highly qualitative?
Let’s say that beyond being a wonderful composition, Rituals is above all a path, a process, where each musician has his own share of initiative. To be clear, Rituals is neither a composition, with all that is rigid and predictable, nor an improvisation, with all that includes risks and uncertainty, it is an intermediate concept. There is therefore in each interpretation of Rituals both a part of the known, coming from the composer, his personal universe and his rigor, and a part of the unknown, coming from the imagination or even the fantasy of each musician, and his talent of course.
To make this point more colorful, let's say that we can for example imagine the beginning of Rituals as a part of instrumental hide and seek. And as the musicians play, have fun, in addition to playing, their instrument, there is inevitably a share of excitement and obvious pleasure in the interpretation of the work at that time. The composition comprising 9 parts, it is therefore 9 patterns or climates of improvisations which are in turn explored. I wish you a pleasant and exciting discovery!