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Robyn Schulkowsky - 2013 - Armadillo (FLAC, New World 739)

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Description

Music : Classical : Lossless
      

New
World Records 80739-2.

1	Part I	42:33
2	Part II	5:05
3	Part III	5:29
4	Part IV	5:12

Fredy Studer: drums
Joey Baron: drums
Robyn Schulkowsky: percussion

Recorded in Poggiolo, Italy and Zürich, Switzerland in 2006 and 2009.

Composer/percussionist Robyn
Schulkowsky (b. 1953) has premiered and recorded some of the most important percussion works of the twentieth and
twenty-first centuries, working with composers such as Stockhausen, Wolff, Cage, Feldman and Xenakis. Armadillo
(1990-2007) is one large-scale piece in four sections, the first of which, at around forty-two minutes, is approximately
triple the duration of the other three combined (these are more or less the same duration, five-plus minutes each). One
might think of the image of a Mayan temple, with a large broad base rising pyramid-like to smaller structures at the
top. Almost all of the music's sound is from drums, in a full range from high to very low. The trio's playing is
virtuosic, precise and finely modulated in color and dynamics.
This is a music at once variously complex and
unified or "simplified" by the prevailing sonority of the drums. What gives the music its complexity and
richness, what makes it distinctively engaging, is not just the stretches of intricate, overlaid patterning - there are
a number of moments when textures thin out and simplify but the continuous structural shifts, the unpredictable but
somehow right moves from one kind of texture and procedure to another. It is a mysterious music, at once highly
disciplined and controlled and at the same time full of energy and movement. It is the result of an intense and
controlled focus in its composition and performance, a focus that because of its very intensity somehow allows the
release of a sense of freedom. - amazon.com

"...An hour-long tour de force, athletically supple and
musically imposing... a notable event in the history of percussion works. It is also tremendous music." --Wire
Magazine

"This is music about people joining to make a complex structure within what is a deceptively
simple template. The patterns of the three drummers are constantly shifting as they overlap. One starts to hear phrases
emerge, almost like human voices in repetitive chant. Climaxes emerge and evaporate like weather systems.... It's deeply
musical, and of course the performances mirror that musicality absolutely." --Fanfare Magazine

"Armadillo is the name of a dance from the epic of the Mayans, the Popul Vuh, describing Creation, the history of
the Gods, and perhaps the people themselves... shifting rhythmical layers and precise progressive patterns make a
dynamic balance that may only be possible with the 'magic combination' of these players. The Mayans would be
dancing." --Faust-Kultur

New Yorker Joey Baron is Schulkowsky’s percussion partner, and he is
also one of the two drummers who accompany her on her own recording, Armadillo (New World Records).
Just as Baron
is probably still best known for his work with the John Zorn groups Naked City, Masdada, and Electric Masada, his
counterpart on Armadillo, drummer Fredy Studer is best known as a founder member of another eclectic, electric jazz/free
music ensemble, OM.
The Schulkowsky / Baron / Studer trio interprets Schulkowsky’s original suite with
disciplined rhythm-keeping and responsive dynamism. Where Wolff’s work is primarily gestural, the four movements
of Armadillo are riverine, mirroring the sonic continuities and rhythmic patterning of minimalism (Reich, Glass), but
with more structural flexibility and heightened expressivity.
“Part I” lasts 42:33, the remaining three
parts just over five minutes apiece. In place of the dancing light of minimalism, the tectonic bass rumble and
stratified rhythmic variations of “Part I” mesh ever more closely; and “Part II” is yet more
taut and suspenseful, a crisp rhythmic patter of tom-toms filled out by deeper resonances.
The two final movements
are more varied. “Part III” is patterned with softly-struck gongs and bright metallic shimmers of rippled
and circle-scraped cymbals; “Part IV” a light, locomotive snare drums shuffle punctuated by bass
reverberations and subtler, wire-brushed sounds and sticks clicks, ending in a final, unexpected metallic whorl. - Tim
Owen, Dalston Sound                                                            Show Demonoid some love
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