The new impulses that the father-and-son team of Joe and Mat Maneri have brought to experimental jazz are increasingly acknowledged by their fellow musicians as amongst the most important developments in contemporary free playing. The Maneris’ improvised chamber music, as radical as it is graceful, brings the yearning passions of jazz and blues together with lessons learned from Schoenberg, microtonalism, and a dozen world music traditions. No other improviser has entered the Maneris’ idiosyncratic universe as persuasively as the great bassist Barre Phillips. Since their debut trio recording “Tales of Rohnlief”, Maneri/Phillips/Maneri have toured on both sides of the Atlantic, further refining their group understanding. “Angles of Repose”, co-produced by Phillips, captures the trio inside the ancient French chapel of Ste. Philomène, responding to the charged resonance of the church as well as to each other.
Angles of Repose
Joe Maneri, Barre Phillips, Mat Maneri
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04:39 - 2Number Two
07:39 - 3Number Three
03:29 - 4Number Four
10:09 - 5Number Five
06:41 - 6Number Six
09:32 - 7Number Seven
01:12 - 8Number Eight
02:29 - 9Number Nine
15:38 - 10Number Ten
09:39
After the “Rohnlief” session, Joe and Mat Maneri invited Barre Phillips to join them for subsequent American touring, and Phillips (California-born and French-based since the early 70s) found work for the trio in Europe. At the end of a French-German-Austrian tour in 2002, the trio headed for the south of France and recorded in the ancient chapel of Sainte Philomène, which adjoins Phillips’ home in Puget-Ville. The session – taped by engineer Gérard de Haro (who has documented almost all of Louis Sclavis’ ECM recordings) – found the trio joined by a small audience on the last day; two tracks on “Angles” are from the live setting. For the most part, however, they were alone, responding to each other and to the charged silence and compact resonance of the church.
Where, on“Tales of Rohnlief”, Mat Maneri was playing his customized solid-body electric violins, “Angles of Repose” is all acoustic. Here Mat plays only viola, which greatly affects the group dynamics. He elicits an extraordinary variety of tones and timbres from the viola, and makes the most of its ‘vocal’ capacity (it’s often considered the string instrument closest to the human voice) in the discursive exchanges with Joe and in the cries and exultations which, with those of his partners, define what Barre calls “the striving, reaching-out quality” of the music.
“Listening back to the session, “ says Barre Phillips, who is also the album’s co-producer. “I was struck by the way in which the material divided itself into two tributaries – the music of peaceful repose or serenity, and the music of intense yearning, striving and longing to get to this other place. Coltrane’s late music had this same aching quality.”
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