SIMON NABATOV - Time Labyrinth
Leo Records CD LR 881
Frank Gratkowski: alto saxophone, clarinet, bass clarinet, flute; Matthias Schubert: tenor saxophone; Shannon Barnett: trombone; Melvyn Poore: tuba; Dieter Manderscheld: double bass; Hans W Koch: synthesiser; Simon Nabatov: piano
Recorded live at LOFT, Cologne, April 17 2019
Both Nabatov and Gratkowski are noted for their improvisations and these vital elements are present throughout this music. The album though is clearly defined not by their dynamic presence, but rather by the prominence of composition. Nabatov, responsible here for all the pieces, adheres very closely to his inclination towards the avant garde and it’s no surprise to find that if a melody be suddenly discerned, it sounds as though it has just narrowly escaped from the undergrowth of the Free collective.
Interesting that the ‘Time’ of the title is not reflected by the presence of drums in the line-up. Instead, mutability is expressed through the individual tremblings of the tenor sax or the vacillations of trombone and tuba. Also thought-provoking is the fact that the four instruments in the front line are not generally allowed the privilege of horn solos, but brief comments or ejaculations are invited. This is thoroughly modern chamber music and is part of a series for septet intended to allow the ongoing study of facets of music of personal interest to Nabatov – for the most part, perhaps, the element of time.
Describing the music as ‘chamber’ comes out of its distinctive swing or drive, of which there is plenty, but note too that the softly ornamental euphony that is generally expected in classical baroque chamber music may here be swallowed whole by something darker and heavier, though that in no way denigrates it.
The septet applies itself to these presentations with exactness and dedication, and the format of the group and the music they perform is absolutely inspired. Much credit to Nabatov for this, as his pulsating force and intricacy are constant and he takes the question of variation very seriously, so there’s not too much and it is controlled within the music. He truly does convey an intricate and refined panache to everything in which he is involved.
Reviewed by Ken Cheetham
Leo Records CD LR 881
Frank Gratkowski: alto saxophone, clarinet, bass clarinet, flute; Matthias Schubert: tenor saxophone; Shannon Barnett: trombone; Melvyn Poore: tuba; Dieter Manderscheld: double bass; Hans W Koch: synthesiser; Simon Nabatov: piano
Recorded live at LOFT, Cologne, April 17 2019
Both Nabatov and Gratkowski are noted for their improvisations and these vital elements are present throughout this music. The album though is clearly defined not by their dynamic presence, but rather by the prominence of composition. Nabatov, responsible here for all the pieces, adheres very closely to his inclination towards the avant garde and it’s no surprise to find that if a melody be suddenly discerned, it sounds as though it has just narrowly escaped from the undergrowth of the Free collective.
Interesting that the ‘Time’ of the title is not reflected by the presence of drums in the line-up. Instead, mutability is expressed through the individual tremblings of the tenor sax or the vacillations of trombone and tuba. Also thought-provoking is the fact that the four instruments in the front line are not generally allowed the privilege of horn solos, but brief comments or ejaculations are invited. This is thoroughly modern chamber music and is part of a series for septet intended to allow the ongoing study of facets of music of personal interest to Nabatov – for the most part, perhaps, the element of time.
Describing the music as ‘chamber’ comes out of its distinctive swing or drive, of which there is plenty, but note too that the softly ornamental euphony that is generally expected in classical baroque chamber music may here be swallowed whole by something darker and heavier, though that in no way denigrates it.
The septet applies itself to these presentations with exactness and dedication, and the format of the group and the music they perform is absolutely inspired. Much credit to Nabatov for this, as his pulsating force and intricacy are constant and he takes the question of variation very seriously, so there’s not too much and it is controlled within the music. He truly does convey an intricate and refined panache to everything in which he is involved.
Reviewed by Ken Cheetham
