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Vasco Trilla
Tim Daisy
Bristling Duets

jazz/yass/impro
Relay, 2021

Czas trwania: 38:29

Średnia ocena klientów: -    oceń

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CD : 61,90 zł
na stanie
Nr kat.: RELAY031
EAN: 0195269097806
format : CD
liczba nośników : 1
Opakowanie : kartonowa obwoluta


nr tytuł play mp3
1 Terra Firma 2:14
2 Quiver And Shake 2:32
3 Cerulean 3:17
4 Static Points 2:29
5 Nord-Sud 2:32
6 Lectura 2:25
7 Toledo Song 4:37
8 Relay Signals 4:32
9 The Whole City 3:16
10 Poznan 2:56
11 Eleven 2:35
12 Crackle And Pop 2:34
13 Unsinkable 2:29


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muzycy:
Vasco Trilla: percussion
Tim Daisy: percussion

Dusted:
In 2020, many people had to figure out what else to do when the usual options were abruptly taken off the table. Percussionist Tim Daisy was no exception. With live music out of the question, he spent some time completing projects that were already in motion, working on solo music and preparing archived recordings for release. But such solitary pursuits can take a musician who has thrived on real-time interaction for decades only so far.

During the fall of last year, Daisy began pursuing virtual collaborations. The first, with electronic musician Ikue Mori, set the template. He sent her some files of his playing, which she was free to manipulate and add to in any way that she chose. Mori took full advantage of the invitation, mixing, layering, editing, and adding electronics to Daisy’s drum kit and marimba. Light and Shade doesn’t sound like a real-time exchange, but it does sound like an authentic interaction between the two musicians. Daisy started doling out tracks to other musicians, which he has compiled into two volumes of download-only Imaginary Rooms.

Now Bristling Duets (2021) brings the concept back around to the essence of Daisy’s work — percussion. It contains fellow percussionist Vasco Trilla’s responses to Daisy’s files, and while it is the result of two musicians making music alone, one in Barcelona and the other in suburban Chicago, their collaboration exudes genuine empathy. Sure, Trilla understands Daisy’s instruments, since there’s considerable overlap in their instrumentation. And the two men are similarly committed practitioners of jazz and improvisation. But he doesn’t just play something that sounds right when heard in proximity to Daisy’s expressions of texture, motion and rhythm — he completes them. Adding gongs, bells, music boxes, and more drums to tracks that usually zero in on some element of the trap kit, Trilla introduces cont
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