Michaël Attias

Platz,  Attias,  Kneer, Griener
Live at Sowieso
Modern Sounds Music No #

Nataniel Edelman Trio
Un Ruido de Agua
Clean Feed CF 650 CD

One of the busiest players on both sides of the Atlantic Brooklyn alto saxophonist Michaël Attias has finally found time to release his first leadership date in seven years with LuMiSong featuring keyboardist Santiago Leibson, bassist Matt Pavolka and drummer Mark Ferber. Not that he’s been idle in the interim. Two Berlin-recorded dates attest to that. Un Ruido de Agua is a o session with Argentinean pianist Nataniel Edelman and American bassist Michael Formanek and on Live at Sowieso he joins US guitarist Jeff Platz and an accomplished local rhythm team: bassist Meinrad Kneer and drummer Michael Griener.

Each follows a separate idea. Edelman, who has recorded extensively in Europe and South America, creates a languid, impressionistic set of 10 tracks. The four improvisations on Live at Sowieso are rugged and freeform. Meanwhile LuMiSong on the other hand includes full studio synthesis with the live tracks supplemented with new samples mixes and overdubs, some from cellist Christopher Hoffman prominent on the final track.

Entitled “Hexway Liner” Hoffman’s swift hoedown-like stops fits organically among the other players’ textures with Leibson’s keyboard sounding successively like a player piano then a bop solo as drum top splash and the pinched reed tone flutters and honks. While overdubbed multi reed harmonies elsewhere as well as cut-and-pasted sonic variables and tone palindromes confirm studio manipulation obvious artificiality is avoided.
This is especially true of the extended “NME” , which with its hesitant piano key compression and resonating bass string echoes sets up a calm and ghostly sense only intensified by overdubbed vibraphone-like tremolo from the keyboard and faux horn section riffs. An interlude of varied tempos and pitches from the reeds doesn’t prelude a summation that unites live and studio created timbes into head recapping.

Live in the studio, Un Ruido de Agua reflects that atmospheric compositions since many of its tracks are guided by the sympathetic and understated mood set up by the pianist’s isolated key clusters and engendered time suspension. Additionally y Formanek’s in-sync string stops and frequently unvarying pacing often match Edelman’s connective comping or isolated note emphasis. As for Attias from the very beginning and especially during “Un recuerdo nuevo”, his distinct trills and cursive extensions reflect the moderated expression of Cool School saxophonists. Here, the pianist’s frequent default to light formalism is prevented from overt prettiness by the bassist’s stentorian thrusts. Climax is a polyphonic blend of three distinct voices.
While unforced swing and relaxed diversions characterize most tracks, less comfortable interludes confirms the steel beneath the trio’s sometimes eiderdown suggesting narratives. Formanek sometimes alters his pacing to include sul ponticello bowing, while the saxophonist’s more emotional asides include mewling trills that ascend to sinewy squeaks and peeps. Even Edelman at points puts aside his measured pulse for sudden keyboard clips and pedal point pressure at times.

“Three Beats”, the extended group composition is the best instance of this. Place-holding piano pacing is swiftly challenged by thin reed peeps and smears as the unperturbed bass line pulses. Responding by sprinkling light and dark notes from all piano frequencies, a build up to cascading glissandi helps prod Attias to more straight-ahead expression as the three parallel lines come to a sudden stop.

The note bending and extended techniques missing from Un Ruido de Agua are given full rein on Live at Sowieso as Attias improvises alongside Platz, who has recorded with Daniel Carter, Griener who works with Rudi Mahall and Kneer who has played with Ab Baars.

Starting with “Tethering”, the first track and continuing until “Pointed” the final one, Attias has plenty of space to let loose. But while he puffs out circular vibrations, irregular trills. Emphasized split tones and strained snorts, plus – especially on the latter – working his way up and down the scale with singular peeps and squeaks, he never loses control of ongoing communication. The guitarist’s hard clangs and metallic twangs follow similar pattern, especially as he shadows Attias, while the bassist squeezes out a steadying pulse as the drums rumble and clang.

“Tethering” also moves through various tempos with an andante interlude emphasizing guitar cross plucks, doubled bass strokes and shredding saxophone drones. It then returns to linear motion with Kneer’s supple spiccato chiming Platz’s connective comping and press rolls from Griener that stabilize the finale despite defiant reed smears.

The quartet’s ability to mix multiphonics and moderation is most prominent on the almost 26-minute “Obliquity”. As jagged string squeaks and vibrating air strained from the saxophone introduce the sequence, warm downward guitar licks arise in counterpoint. As cowbell clangs and bass string thumps preserve the continuum, Attias and Platz frequently switch roles, with the guitarist projecting jagged slices and the saxophonist turning from bugling reflux to expressive horizontal patterns. At midpoint the other three players advance a foot patting bounce, while the saxophonist vibrates altissimo split tones. As the group sounds modulate up and down the scale, a bowed bass line and guitar strums move to a smooth conclusion.
Embedded within three sets of playing partners, Attias aptly demonstrates his creative reflexes and how his musical maturity allows him to help propel each situation to become an appreciated session.

–Ken Waxman

Track Listing: Quartet: 1. #62 (Settled) 2. Mister Softee is a Front 3. NME 4. Hexway Liner*

Personnel: Quartet: Michaël Attias (alto saxophone); Santiago Leibson (piano and keyboards); Christopher Hoffman* (cello); Matt Pavolka (bass) and Mark Ferber (drums)

Track Listing: Un: 1. The River 2. Unfolds 3. Canción del vino 4. Un recuerdo nuevo 5. Voz 6. Three Beats 7. De cerca 8. Pliegues 9. Ripe Plums 10. La femme centaure

Personnel: Un: Michaël Attias (alto saxophone); Nataniel Edelman (piano) and Michael Formanek (bass)
Track Listing: Live: 1. Tethering 2. Naturlich 3, Obliquity 4. Pointed

Personnel: : Live: Michaël Attias (alto saxophone); Jeff Platz (guitar and electronics); Meinrad Kneer (bass) and Michael Griener (drums)