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Colin Fisher Quartet
Living Midnight

jazz/impro
Astral Spirits, 2019

total time: 71:43

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CD:16,74€
availability:
about a month
cat. no: AS107
format : CD
number of discs : 1
packaging : ecopack


no. title play mp3
1 Crescent Moon Furnace 29:09
2 Embryonic Breath 23:48
3 Valley Spirit 18:47


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https://youtu.be/0e0NzYeGZCw

muzycy:
Colin Fisher: Tenor/Alto Saxophones
Daniel Carter — Tenor/Alto/Soprano Saxophones, Clarinet, Flute
Brandon Lopez — Upright Bass
Marc Edwards — Drums/Percussion

Editor's info:
Toronto-area saxophonist Colin Fisher, best known for his group I Have Eaten The City, with his collective quartet of NY players Daniel Carter on tenor, alto & soprano saxophones + clarinet & flute, Brandon Lopez on upright bass, and Marc Edwards on drums & percussion, for three extended and exploratory improvisations of exemplary creative insight.

dustedmagazine.tumblr.com:
Daniel Carter and Marc Edwards having been making albums in the spirit of Living Midnight for most of their lives. Edwards, through early tenures as the engine room for the energy trio Apogee with David S. Ware and Cooper Moore (then Gene Ashton) and a celebratory iteration of Cecil Taylor’s Unit, onward. Carter, most memorably as one quarter of the New York subways-abiding creative crucible that was Test with Sabir Mateen, Matt Heyner, and the late Tom Bruno. Both men know their way around galvanizing improvised music marathons like the backs of their respective hands.

Colin Fisher and Brandon Lopez come from a subsequent generation but remain equally enamored with the sort of free jazz that is long in duration and deep in visceral impact. Assembled at a studio, the foursome recorded three pieces spanning over seventy minutes of music. Two were released as opposite sides of a cassette with a CD edition adding the third piece as reflective coda. “Crescent Moon Furnace” clocks to nearly a half-hour and follows an itinerary that echoes the sort of spontaneous, pan-directional interplay that was Test’s calling card. The shifts in thematic trajectory feel spontaneous, but there is an obvious amount of close listening and communicating going on amongst the group.

Fisher and Carter joust, jest, and gesticulate on a host of reed and wind instruments with the latter adding soprano saxophone, clarinet, flute and (curiously uncredited) trumpet to the tandem fielding of alto and tenor. Passages of ruminative r
.......
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