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Kris Davis, Diatom Ribbons

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Kris Davis, Diatom Ribbons I TERRI LYNE CARRINGTON VAL JEANTY ESPER ANZA SPALDING TONY MALABY JD ALLEN I NELS CLINE MARC RIBOT CHES SMITH TRE VOR DUNN Val Jea nty 2 3 JD Allen 4 Nels Cline Kris Davis 1 5 Trevor Dunn • • • • • • • • • • Terri Lyne Carrington 10 • J.: •• • • •\. • 6 Tony Malaby 7 Esperanza Spalding Ches Smith 9 8 Marc Ribot - PRODUCED BY DAVID BRESKIN RECORDED & MIXED BY RON SAINT GERMAIN Recorded December 2018, Oktaven Audio, Mt Vernon, NY i When I compose, I'm alternating between the micro and Mixed March 2019, Saint's Place, Kinnelon, NJ macro, shaping the details and then standin g back to see how they make up the structure of the composition. While All compositions by Kris Davis (Rye Eclipse Music, SOCAN) except: writing for this album I learned about d iatoms, which are unicellular microalgae that live in the oceans and freshwater ' "The Very Thing" by Michael Attias (Ravished Limbs Music, SESAC) and soils. They contribute massively to the planet's oxygen I_ .• "Reflections" by Julius Hemphill (subitomusicpublishing, ASCAP) supply, and there are something like one hundred thousand Spoken words on "Certain Cells": Gwendolyn Brooks' "To Prisoners" species. From satellite images above oceans and lakes, ' (Reprinted By Consent of Brooks Permissions) huge blooms sometimes appear as beautiful zigzags and ribbons. Up close under a scanning electron microscope, ...." , ' ' \. Assistant Engineers: Ryan Streber & Liberty Ellman you can see these incredible, ornate structures. So seeing Mastering: Scott Hull, Masterdisk, Peekskill, NY these plants extremely close-up and then so far away, I made ~, ~-" a connection between the process of composition and my . Session photography: Mimi Chakarova experience of nature, and that changing your proximity to '1· ' ' Diatoms: Dennis Kunkel Microscopy/ Science Photo Library the same object or idea can dramatically alter your experi- . Printing: Walter Thurman / Lithocraft ence of it, often yielding unexpected and inspiring results. Design & Layout: Spottswood Erving & July Creek for Janky Defense D KRIS DAVIS. OSSINING. MAY 22. 2019 • m WHEN SHE WAS COMPOSING THE PIECES FOR DIATOM RIBBONS Other new relationships blossomed. Davis and pian ist Kris Davis was musing about diatoms and larger theme~ Marc Ribot connected through recent perfor- of nature and science. She was also looking for opportunities mances of John Zorn's Bagatelles. She met JD to explore new musical relationships with drummer Terri Lyne Allen on one of the Monk Centennial gigs and Carrington and vocalist Esperanza Spalding (both Grammy win- they were eager to do more together. And her ners) and ground-breaking turntablist Val Jeanty. Carrington, producer David Breskin introduced her to Nels Jeanty and Spalding first worked with Davis on a series of tribute Cline, with whom he's worked extensively. So concerts to the late Geri Allen, and there were sparks right away. life had brought Davis into provocative contact "We did ten concerts of Geri's music," Davis says, "so we were with different-one could say separate-com- diving into her world. And then Cecil Taylor passed away not long munities of players, and Diatom Ribbons was after and I started revisiting all my favorite albums of his. Around her chance to bring them together. In addition this time I was also preparing to play some Monk compositions to these new friends, we hear from three long- for the Monk Centennial. Between these concerts and playing/ time Davis colleagues: tenor saxophonist Ton y tran scribing music by Olivier Messiaen, Henry Threadgill and Malaby (paired with JD Allen on the first and Yo ussou N'Dour-there were all these influences going on here." last tracks); Ches Smith (the sought-after drum- mer/ percussionist, playing vibraphone here); A January 2018 residency at The Stone in New York proved the and free-ranging bassist Trevor Dunn. perfect opportunity for Davis to investigate further. She asked Carrington and Jeanty to join her in a wholly improvised gig, Davis also brought in engineer Ron Saint Carri ngton 's very fi rst in fact, " and it was super killing," Germain, who had collaborated with Breskin and Davis on three of her previous albums-- she says. "And Val 's role in it, her hip-hop influence, be- Save Your Breath, Duopoly and Octopus--and ing able to shape the music using words and also 'nature' has worked with everyone from Whitney sounds and percussion-it opened a whole new palette fo,~ Houston to Soundgarden to Ornette Coleman me to consider when I was conceptualizing this proJ ect. to Sonic Youth . Saint Germain was indispens- that Davis has made a bold and unique sonic departure in able in creating the sharp-focused aesthetic her oeuvre - yet one that still sounds every bit like her. The that Davis was after. "It's mixed and mastered harmonic density, rhythmic acuity, broad dynamics, brilliant so you feel up close," Davis says, "right touch and sheer technical command of the piano she's known there in the middle of the group and the for are present, and these elements are elevated, rather than music being made. The attention to detail is overshadowed, by the new groove and sonic complexity. all him, and it was amazing to see how he was able to give the music another dimension. " Regarding some of the voicings on " Diatom Ribbons," Davis notes the influence of Messiaen, particularly solo piano works On the leadoff title track Davis employs like "Petites esquisses d'oiseaux" (" little bird sketches"). She prepared piano, something she introduced also directly references Messiaen on "Corn Crake," a bird on her solo records Aerial Piano and Massive sketch of her own, for the core Davis/Carrington/Jeanty Threads, using gaffer's tape and erasers to trio. The spoken-word element comes again via Jeanty: it's generate an expressly percussive riff. The voice Messiaen mimicking the call of a nightingale, then a corn of Cecil Taylor enters, manipulated by Jeanty. Carrington is textural in approach until she c~ake, explaining the latter (in French) as " strange, that iam- locks in, fiercely in the pocket, no matter how bic rhythm - short, long, in the high grass of the meadow." asymmetric the feel. Dunn enters on upright AsD the. piece breaks midway into a tight , broken-beat groove ' bass just before Taylor's voice trails off, giv- a~is uses a Moog bass sample under her piano solo. But ing the groove an inspired lift, and wh en the w_e re hearing more than one piano, Davis reveals: " I recorded voice returns later in the piece, Jeanty cuts it tracks for Val , so she had access to eight different cells. is idea came from playing duo with Craig Taborn on our up in DJ fash ion. In the midst of this the tenors 0 play solos in turn, first Allen, then Mal aby. W·1ctthodpuffs project, wanting to explore that two-piano concept but 1 erent ' I , Th By the end of " Diatom Ribbons" it's cl ea r nipulat· h rues. e samples are me playing, with Val ma- ing t em and ' h · , c a sing me as I play the cells in real time." The voice of Esperanza Spalding, reciting Gwendolyn Brooks' Ribbons as a groove-based piece, with poem "To Prisoners," provides the stark initial focus on "Certain dyads acting as a structure for Jeanty to Cells, " which is then both grounded and lifted by another vicious play over, and a twisty, knotty melody for Carrington groove. Dunn (on electric bass) remains perfectly Cline and her to play in unison, and then sparse while Cline's guitar and Smith's vibes float into abstrac- further as a springboard for Cline's solo. tion and color. "I love Ches' touch," Davis says. "There's some- thing aggressive about it, but it also sings, and piano and vibes "Golgi Complex" refers to a part of an in- is just such a rich combination." Along with the fact that "cells" dividual cell responsible for processing pro- conveys a kind of triple meaning-biological entities, prisons, teins. The piece appears here in two ver- and collections of notes that create eleven harmonic structures sions, though Davis wrote the second one within the composition-Davis chose the Brooks poem for its first. "The original is really how I envisioned own multivalence. The poem speaks to Davis' feelings of frustra- it: as chaos, with this melody that acts as tion and disillusionment regarding the current state of American a beacon through that chaos, a theme for politics, and offers a sense of strength and solace during a dif- everyone to track as they're improvising. ficult time. I've written five or six variations of it, with the same melody but various accompaniments, For the form of "Stone's Throw," Davis notes, "I envisioned and 'Golgi Complex (The Sequel)' is one of these tectonic plates that shift and place weight unevenly, those variations. But I do want people to creating unusual punctuation that I could improvise over, allow- recognize that they have the same melody, ing the phrases to float over the 'plates' or land on them. The just in dramatically different landscapes." melody uses a similar approach." "Rhizomes" was originally part of a large-ensemble piece that blended written compo- In what could be seen as an echo of her sitional fragments with "conduction" in the tradition of Butch 2016 release Duopoly, Davis joins Car- Morris and Anthony Braxton. Davis re-envisioned it for Diatom rington on the elegant, subtly E\lingtonian -~§J?~ --:,·:w:r -em --- duet " Sympodial Sunflower." The title · t ting to go the other way, make it more concrete, b e ,n eres h h Id " is a conscious play on Duke's "Fleurette almost like a jazz standard, and see w ere t at cou go.
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