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On a Short Path from Memory to Forgotten Jim Lewis, Andrew Downing, Jean Martin

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The exquisite improvising trio of Jim Lewis, trumpet; Andrew Downing,double-bass; and Jean Martin, drums and trumophone, launch On a Short Path from Memory to Forgotten. This passionate and lyrical sequence of group improvisations introduces one of Toronto’s extraordinary creative music ensembles. The sound of an orchestra in a cosy little trio package.

On a Short Path from Memory to Forgotten

Jim Lewis, Andrew Downing, Jean Martin

La presse en parle

  • François Couture, Monsieur Délire, 13 juillet 2010
    Très bon.
  • Ken Waxman, The WholeNote, no 15:10, 1 juillet 2010
    Altering the paradigm so that each instrument is as important as any other creates a more equitable and satisfying performance — and boosts the trumpet’s role.

Journal d’écoute

François Couture, Monsieur Délire, 13 juillet 2010

Un trio d’avant-jazz trompette-contrebasse-batterie. Très vif, la musique bondit au visage, elle brille, elle tourne. Pourtant ce n’est pas dansant! Tout de même, Groove en a justement un, et Fourteen, à travers ses contorsions, esquisse quelque chose d’entraînant. De l’impro soutenue et parfois mordante, livrée à petites et moyennes doses (entre 2 et 10 minutes la portion). Très bon.

Très bon.

Review

Ken Waxman, The WholeNote, no 15:10, 1 juillet 2010

Altering the paradigm so that each instrument is as important as any other creates a more equitable and satisfying performance — and boosts the trumpet’s role. Toronto’s Jim Lewis, Andrew Downing and Jean Martin demonstrate this On a Short Path from Memory to Forgotten (Barnyard Records BR 0311 www.barnyardrecords.com). Consisting of 10 instant compositions, there is no foreground or background instrument. One tune for example could be a capriccio, as Lewis’ joyful trumpet blasts define the theme; another is dependent on Downing’s thumping bass pulsations; and almost all are illuminated more by the splashes of multiphonic color Martin creates with gamelan-like bell tones and triangle resonation than a steady beat from his regular kit. Showcasing Lewis’ phrasing, which ranges from staccato heraldic blasts to graceful flutters, is Eight, the tune in which his moderated a capella puffs give way to a rubato, double-time version of theme and finally to aviary chirps plus whistling resounds. These intertwine with martial rolls and rebounds from Martin and walking slap bass from Downing.

Altering the paradigm so that each instrument is as important as any other creates a more equitable and satisfying performance — and boosts the trumpet’s role.

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