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For McCoy
Black Truffle is pleased to announce For McCoy, a new work by Eiko Ishibashi dedicated to the widely loved character of Jack McCoy, portrayed by Sam Waterston in Law & Order. Following on from Hyakki YagyĆ (BT064), For McCoy finds Ishibashi further exploring the unique space she has carved out in recent years, bringing together musique concrĂšte techniques, ECM-inspired jazz, lush layers of synths and hints of pop into immersive and affecting structures crafted in her home studio, aided by a group of close collaborators.
Beginning with overlapping layers of descending flute lines, the expansive âI Can Feel Guilty About Anythingâ (whose two parts stretch out over more than thirty minutes) unfolds with a free-associative logic, embracing dreamlike transitions and unexpected cinematic cuts. As a hovering cloud of synthetic tones and multi-tracked voices fans out from the spare opening moments, Joe Taliaâs skittering cymbals settle into a gently propulsive groove, soon joined by melodic fragments performed by Daisuke Fujiwara on multi-tracked saxophone. As the drums cede to field recordings and ominous synth figures, the uncommon meeting of saxophone and electroacoustic techniques call to mind the more spacious moments of Michel Redolfi and AndrĂ© Jaumeâs Synclavier-propelled oddity Hardscore or the early work of Gilbert Artmanâs Urban Sax. As the piece continues on the LPâs second side, distant dialogue rumbles beneath a surface of processed flutes, blurring into a cavernously reverberant backdrop for stark ascending lines performed by MIO.O on violin. Eventually, the piece settles into a gorgeous passage of abstracted dream pop, where Ishibashiâs multitracked vocal harmonies glide atop synth chords, errant pings and snatches of outdoor sound.
Fragments of melodic material reappear throughout the spacious opening piece, finally stepping to the forefront on the closing track, âAsk Me How I Sleep at Nightâ. Here, over a shuffling groove supplied by Jim OâRourke on double bass and Tatsuhisa Yamamoto on drums, layers of flutes, saxophones and guitars sound out melodies whose combination of twisting irregularity and soulful immediacy calls up prime Keith Jarrett, while their closely voiced harmonies suggest Kenny Wheeler or even Wayne Shorterâs Atlantis. In a classical gesture of closure, the web of melodic lines eventually leads back to the descending flute figures with which the record began. Presented in an immersive, impeccably detailed mix by Jim OâRourke and arriving in a sleeve featuring Ishibashiâs beautiful drawings of Jack McCoy, For McCoy is an essential release for anyone following the enchanted and unique path being forged by Eiko Ishibashi.
Beginning with overlapping layers of descending flute lines, the expansive âI Can Feel Guilty About Anythingâ (whose two parts stretch out over more than thirty minutes) unfolds with a free-associative logic, embracing dreamlike transitions and unexpected cinematic cuts. As a hovering cloud of synthetic tones and multi-tracked voices fans out from the spare opening moments, Joe Taliaâs skittering cymbals settle into a gently propulsive groove, soon joined by melodic fragments performed by Daisuke Fujiwara on multi-tracked saxophone. As the drums cede to field recordings and ominous synth figures, the uncommon meeting of saxophone and electroacoustic techniques call to mind the more spacious moments of Michel Redolfi and AndrĂ© Jaumeâs Synclavier-propelled oddity Hardscore or the early work of Gilbert Artmanâs Urban Sax. As the piece continues on the LPâs second side, distant dialogue rumbles beneath a surface of processed flutes, blurring into a cavernously reverberant backdrop for stark ascending lines performed by MIO.O on violin. Eventually, the piece settles into a gorgeous passage of abstracted dream pop, where Ishibashiâs multitracked vocal harmonies glide atop synth chords, errant pings and snatches of outdoor sound.
Fragments of melodic material reappear throughout the spacious opening piece, finally stepping to the forefront on the closing track, âAsk Me How I Sleep at Nightâ. Here, over a shuffling groove supplied by Jim OâRourke on double bass and Tatsuhisa Yamamoto on drums, layers of flutes, saxophones and guitars sound out melodies whose combination of twisting irregularity and soulful immediacy calls up prime Keith Jarrett, while their closely voiced harmonies suggest Kenny Wheeler or even Wayne Shorterâs Atlantis. In a classical gesture of closure, the web of melodic lines eventually leads back to the descending flute figures with which the record began. Presented in an immersive, impeccably detailed mix by Jim OâRourke and arriving in a sleeve featuring Ishibashiâs beautiful drawings of Jack McCoy, For McCoy is an essential release for anyone following the enchanted and unique path being forged by Eiko Ishibashi.
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Black Truffle is pleased to announce For McCoy, a new work by Eiko Ishibashi dedicated to the widely loved character of Jack McCoy, portrayed by Sam Waterston in Law & Order. Following on from Hyakki YagyĆ (BT064), For McCoy finds Ishibashi further exploring the unique space she has carved out in recent years, bringing together musique concrĂšte techniques, ECM-inspired jazz, lush layers of synths and hints of pop into immersive and affecting structures crafted in her home studio, aided by a group of close collaborators.
Beginning with overlapping layers of descending flute lines, the expansive âI Can Feel Guilty About Anythingâ (whose two parts stretch out over more than thirty minutes) unfolds with a free-associative logic, embracing dreamlike transitions and unexpected cinematic cuts. As a hovering cloud of synthetic tones and multi-tracked voices fans out from the spare opening moments, Joe Taliaâs skittering cymbals settle into a gently propulsive groove, soon joined by melodic fragments performed by Daisuke Fujiwara on multi-tracked saxophone. As the drums cede to field recordings and ominous synth figures, the uncommon meeting of saxophone and electroacoustic techniques call to mind the more spacious moments of Michel Redolfi and AndrĂ© Jaumeâs Synclavier-propelled oddity Hardscore or the early work of Gilbert Artmanâs Urban Sax. As the piece continues on the LPâs second side, distant dialogue rumbles beneath a surface of processed flutes, blurring into a cavernously reverberant backdrop for stark ascending lines performed by MIO.O on violin. Eventually, the piece settles into a gorgeous passage of abstracted dream pop, where Ishibashiâs multitracked vocal harmonies glide atop synth chords, errant pings and snatches of outdoor sound.
Fragments of melodic material reappear throughout the spacious opening piece, finally stepping to the forefront on the closing track, âAsk Me How I Sleep at Nightâ. Here, over a shuffling groove supplied by Jim OâRourke on double bass and Tatsuhisa Yamamoto on drums, layers of flutes, saxophones and guitars sound out melodies whose combination of twisting irregularity and soulful immediacy calls up prime Keith Jarrett, while their closely voiced harmonies suggest Kenny Wheeler or even Wayne Shorterâs Atlantis. In a classical gesture of closure, the web of melodic lines eventually leads back to the descending flute figures with which the record began. Presented in an immersive, impeccably detailed mix by Jim OâRourke and arriving in a sleeve featuring Ishibashiâs beautiful drawings of Jack McCoy, For McCoy is an essential release for anyone following the enchanted and unique path being forged by Eiko Ishibashi.
Beginning with overlapping layers of descending flute lines, the expansive âI Can Feel Guilty About Anythingâ (whose two parts stretch out over more than thirty minutes) unfolds with a free-associative logic, embracing dreamlike transitions and unexpected cinematic cuts. As a hovering cloud of synthetic tones and multi-tracked voices fans out from the spare opening moments, Joe Taliaâs skittering cymbals settle into a gently propulsive groove, soon joined by melodic fragments performed by Daisuke Fujiwara on multi-tracked saxophone. As the drums cede to field recordings and ominous synth figures, the uncommon meeting of saxophone and electroacoustic techniques call to mind the more spacious moments of Michel Redolfi and AndrĂ© Jaumeâs Synclavier-propelled oddity Hardscore or the early work of Gilbert Artmanâs Urban Sax. As the piece continues on the LPâs second side, distant dialogue rumbles beneath a surface of processed flutes, blurring into a cavernously reverberant backdrop for stark ascending lines performed by MIO.O on violin. Eventually, the piece settles into a gorgeous passage of abstracted dream pop, where Ishibashiâs multitracked vocal harmonies glide atop synth chords, errant pings and snatches of outdoor sound.
Fragments of melodic material reappear throughout the spacious opening piece, finally stepping to the forefront on the closing track, âAsk Me How I Sleep at Nightâ. Here, over a shuffling groove supplied by Jim OâRourke on double bass and Tatsuhisa Yamamoto on drums, layers of flutes, saxophones and guitars sound out melodies whose combination of twisting irregularity and soulful immediacy calls up prime Keith Jarrett, while their closely voiced harmonies suggest Kenny Wheeler or even Wayne Shorterâs Atlantis. In a classical gesture of closure, the web of melodic lines eventually leads back to the descending flute figures with which the record began. Presented in an immersive, impeccably detailed mix by Jim OâRourke and arriving in a sleeve featuring Ishibashiâs beautiful drawings of Jack McCoy, For McCoy is an essential release for anyone following the enchanted and unique path being forged by Eiko Ishibashi.
