Ten quietly entrancing improvisational balladscapes featuring a trio of creative musicians from the West Coast: Kris Tiner on trumpet and flugelhorn, Noah Phillips on electric guitar and Sara Schoenbeck on bassoon.

10 MP3 Songs
JAZZ: Modern Creative Jazz, JAZZ: Chamber Jazz



Details:
Kris Tiner - trumpets/flugelhorn
Noah Phillips - electric guitar
Sara Schoenbeck - bassoon

The Tiner/Phillips/Schoenbeck Trio has been called âa trio of increasingly visible local edge danglersâ by the LA Weekly as they have been gathering international radio play and positive attention in the jazz press for their current pfMENTUM CD release Breathe In, Feed Out. Members of the group are prolific on the West Coast creative music scene and have worked with notable artists including Nels Cline, Wadada Leo Smith, Vinny Golia, Alex Cline, Leroy Jenkins, Anthony Braxton, Gerry Hemingway, Steuart Liebig, G.E. Stinson, and Harris Eisenstadt.

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"These ten tracks form a set of carefully considered studies, one that imposes a welcome, reflective mood upon the listener. 'They Mistook Time for Line,' one of the track titles, could almost be a group manifesto. Tiner's trumpet and flugelhorn work is both conversational and eliptical, much like Bill Dixon's in its unhurried examination of space. The guitarist and bassoonist work similar paths, reacting to each other with a slight narrative push here, a noisy squiggle there; 'Force a Smooth Thing' is a tour-de-force of guitar/electronics helter play, while Schoenbeck's command of her difficult, ghetto-ized instrument is admirably full and entertaining... Well-executed ferocity aside, it's the quietly entrancing moments of tracks like 'A Wind Shift,' 'Road From Kumasi,' and 'Like Red Flowers' that draw the listener in to this trio's fascinating sound world. Hope there's more to come."
-Larry Nai, Cadence Magazine

âWonderful...it's a minimalist approach that never loses its quiet, stretching atmosphere and stark, naked beauty. Never too chaotic, it is a spacey, moody, somewhat dark and at times noisy minimalism that seeks to bring life to the barren, lonesome, jagged landscapes of its photography.â
-Jeramy Ponder, Jackal Blaster Webzine

âCreative and imaginative...The three artists present a purity of sound that is basic, interesting, and honest.â
-The Critical Review Service

âThis excellent CD is all about atmospheric experimentation. The members of the trio play their instruments to compliment one another, so this is not a slugfest of blaring trumpet and lead guitar solos. As a matter of fact, the bassoon, played by Sara Schoenbeck, is an instrument I wish more jazz musicians would incorporate into their music. Essentially, the bassoon becomes a replacement for the traditional bass parts and possesses a very different textural feel which allows for greater flexibility. Another avenue of exploration that the experimental jazz genre needs to take a hold of is electronic media. Guitarist Noah Phillips uses everything from controlled feedback and various electronic sound effects including, I think, a bowed guitar. These effects modernize the sound, without trashing the jazz roots of the compositions. Kris Tinerâs subdued trumpet and flugelhorn tends to carry most of the melodies throughout. âForce A Smooth Thingâ is a fine example of the potential for experimental electronic music within the jazz medium. As far as I am concerned, this is experimental contemporary jazz at its best. I hope to hear more of this type of music in the near future.â
-Michael Casano, JazzReview.com

"Kris Tiner (trumpet), Noah Phillips (guitar), and Sara Schoenbeck (bassoon) fashion moody, thoughtful music that delivers unexpected warmth and familiarity. Phillips' stretchy metal dominates 'Skujellifeddy.' Tiner and Schoenbeck play long unisons while Phillips buzzes and shreds. Spontaneous instrument sounds and noises open, 'Winddrone, Water Drying,' which shifts into high gear. The trio strikes gold on Tiner's 'Road from Kumaasi.' Phillips repeats a simple, hopeful figure and Tiner laces it with expressive, melodically strong variations. Schoenbeck follows, like her fellows, exploiting her instrument's richest range, shaping, bending, rounding notes. The intriguing 'They Mistook Time For Line,' features an oozing solo from Phillips, soon joined by Tiner's tart mute. All three explore raw, ragged tones to start 'Force a Smooth Thing.' Phillips employs a number of effects boxes to achieve sounds unintended by their designers. With their first release, Tiner, Phillips, and Schoenbeck establish themselves as sound scientists of the heart."
-Rex Butters, All About Jazz Los Angeles