Album Remarks & Appraisals:
Break Stuff is what happens after formal elements have been addressed. Vijay Iyer calls the break a span of time in which to act. It's the basis for breakdowns, breakbeats, and break dancing... it can be the moment when everything comes to life. A number of the pieces here are breakdowns of other Iyer constructions. Some are from a suite premiered at New York's Museum of Modern Art, some derive from Open City, a collaboration with novelist Teju Cole and large ensemble. The trio energetically recasts everything it touches. 'Hood' is a tribute to Detroit techno pioneer Robert Hood. On 'Work,' Vijay pays homage to his number one hero, Thelonious Monk. 'Countdown' reconsiders the classic Coltrane tune inside a rhythmic framework inspired by West African music. Mystery Woman is driven by compound pulses which owe a debt to South Indian drumming. Fast moving and quick-witted, the group has developed a strong musical identity of its own, with an emphasis on what Iyer calls co-constructing, exploring all the dynamics of playing together. Yet the three players also get abundant solo space and, in a reflective moment at the album's center, Iyer plays a moving version of Billy Strayhorn's 'Blood Count' alone. Break Stuff, recorded in June 2014 at New York's Avatar Studio and produced by Manfred Eicher, is the third ECM release from Vijay Iyer. It follows the chamber music recording Mutations and the film-and-music project RADHE RADHE: Rites of Holi. Vijay Iyer will tour extensively throughout 2015 both with the Trio and in other configurations.
Highly anticipated new release by this Grammy-nominated trio. Fast moving and quick-witted, the group has developed a strong musical identity of its own, with an emphasis on what Iyer calls "co-constructing", exploring all the dynamics of playing together. The Trio (and Iyer in other configurations) will tour extensively throughout 2015.
Iyer is the most celebrated pianist in jazz - he may be the most celebrated musician in jazz right now - and that gives him great creative license... For all his experimenting, it is with the simplest format - the piano-bass-drums trio - that Iyer has most distinguished himself... They all intertwine so perfectly with one another... Iyer's approach is at once angular and melodic, at turns delicate and muscular... In the final analysis, it is Iyer's vision and individuality, but also his bond with his trio, that makes Break Stuff such a smashing success.
Personnel: Vijay Iyer (piano); Stephan Crump (double bass); Marcus Gilmore (drums).
Liner Note Author: Vijay Iyer.
Recording information: Avatar Studios, New York, NY (06/2014).
Photographer: Bart Babinski.
Though Break Stuff is Vijay Iyer's third appearance on ECM in less than year, it is the debut offering from the longstanding trio on the label. The pianist and composer has been working with bassist Stephen Crump and drummer Marcus Gilmore for more than a decade. They've issued two previous recordings together. Iyer usually works conceptually, and Break Stuff is no exception. In the press release he states that "a break in music is still music: a span of time in which to act." We hear this all the time in modern music, whether it be the sounds that emerge from composer Morton Feldman's extended silences, breakbeats by funky drummers or hip-hop samples of them, or instrumental breakdowns in heavy metal and bluegrass -- they follow a moment where everything previous seems to stop. The Iyer Trio illustrate their concept in a 71-minute program that works from a suite of the same title: three works named for birds were adapted from his multi-media collaboration with author Teju Cole on Open City (illustrating in performance the novel of the same name), three standards, and works that deliver directly on the premise, including the stellar "Hood," which was inspired by Detroit techno DJ Robert Hood. The head patterns are all single-note and chord pulses, fractioned by Gilmore's precise skittering beats, breaks, and martial fills, and accented, stretched, and fragmented again by Crump. Despite its staggered parts and shifting dynamics, it is quite organic. The reading of Thelonious Monk's "Work" commences straightforwardly, following head-solo-head formula, but moves toward the margins in both the pianist's and bassists's solos. The trio's interplay offers a very pointillistic illustration of the composer's coloristic and rhythmic invention. John Coltrane's "Countdown" is taken further afield. While it retains the composer's sense of energy and flow, the pianist breaks down and reassembles its melody and sections with funky snare drops, stop-and-start legato runs, and an exceptionally syncopated bassline. The tune remains utterly recognizable despite their liberties. While opener "Starlings" is the most consciously lyric of the bird pieces, and the band begins to open up into a decidedly internal sense of swing, "Geese," with its arco basslines, intermittently placed choirs, and brushed snares is almost wholly abstract until its lyric side comes into view little more than half-way through. Billy Strayhorn's "Blood Count" is performed as a piano solo and played with a lyricism, spaciousness, and taste that would make the composer smile. The title track opens briskly with fleet statements, yet gradually reveals an inherent lyricism via Crump's solo. Break Stuff is modern jazz on the bleeding edge, a music that not only asks musical questions but answers them, and it does so accessibly and immediately, no matter the form or concept it chooses to express. This trio aims at an interior center, finds it, and pushes out, projecting Iyer & Co.'s discoveries. ~ Thom Jurek
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