Skip to content
Independent music since 1986.
Independent music since 1986.

Language

281: ELLIOTT SHARP with MARY HALVORSON and MARC RIBOT. Err Guitar

Intakt Recording #281/ 2017

Elliott Sharp: Guitar
Mary Halvorson: Guitar
Marc Ribot: Guitar

Recorded July 25, 26, 2016 at Studio zOaR, Manhatten, NY.

Original price CHF 12.00 - Original price CHF 30.00
Original price
CHF 30.00
CHF 12.00 - CHF 30.00
Current price CHF 30.00
Format: Compact Disc
More Info

Last summer in Elliott Sharp’s recording studio in Manhattan, New York guitarist Sharp spent a day with guitar colleague Mary Halvorson and another with Marc Ribot, legendary guitarist of Tom Waits, The Lounge Lizards and Marianne Faithful. The result was a series of recordings that could only be created by friends. They represent the great art of guitar playing by three exceptional musicians looking for new sonic adventures in search of the sound of our time. “I hear in their playing both a step into an unknown future and wild growth from a deep past,” says Elliott Sharp. “The contradiction is resolved in improvisation – the transcendent sonic path of the now.”

Album Credits

Cover art and graphic design: Jonas Schoder

Recorded July 25, 26, 2016 at Studio zOaR, Manhatten, NY. Mixed and mastered at Studio zOaR by Elliott Sharp.Produced and published by Intakt Records, Patrik Landolt, Zürich, Switzerland.

Customer Reviews

Based on 27 reviews
100%
(27)
0%
(0)
0%
(0)
0%
(0)
0%
(0)
M
Max Granvil
Blog de Garenne

Avec ses confrères Eliott Sharp et Marc Ribot, Mary Halvorson mêle son jeu à celui de deux personnalités singulières avec lesquelles elle partage le travail de composition. Elle est parfaitement à son aise dans cet environnement masculin où la six cordes électrique est traitée de façon orchestrale et dans tous ses états. La guitariste s’affirme ainsi comme une des meilleures représentantes de cette approche ouverte d’un instrument dont l’histoire dans le jazz — parallèlement à la tradition qui se perpétue — continue à s’écrire de la façon la plus aventureuse. Soit un panel d’instrumentistes qui dépasse largement le rôle de chanteuse ou de pianiste ordinairement réservé aux femmes dans le monde du jazz.

Il n’est pas étonnant qu’un label indépendant suisse leur accorde une place aussi importante. C’est en effet des marges qu’on peut attendre une telle ouverture, et les grands labels restent à ce niveau très timides et traditionnalistes.
Bravo donc à Intakt et à ses producteurs — dont l’une est une femme, Anja Illmaier, ce qui est loin d’être courant dans la jazzosphère internationale.

https://blogdegarenne.blogspot.com/2020/10/gender-stories-2.html

J
Jason Bivins
Cadence Magazine

Guitar summits can be awfully dull affairs. But with G the right players - understanding the possibilities of effects and percussive techniques as well as chords, color, and line - they can be dazzling. Like this one. But even before you listen, you know from a glance at the players here that we're a long way from McLaughlin, DiMeola, and DeLucia, sisters and brothers. That's not just because of the quirky recording method, which featured one duo per day, with conscious effort to leave room for the third player to record their contribution subsequently. It has more to do with the way each player here exults in idiomatic properties of the guitar, without being constrained by the instrument's expectations.

The opening trio sets the table, with a full strings ecosystem of wild little buzzes and scuffles. Halvorson is unmistakable at this point, with her cosmic effects and earthy lines contrasting masterfully. And indeed, taking Sharp's flinty playing and Ribot's quirky twang into the equation, counterpoint takes on new meanings here. Instead of mere notes and chords, these pieces are overstuffed with anything sonic that the guitar can produce but with a musical logic that makes intuitive sense and grabs you if your ears are open enough. Chiming, resonant repetitions dot the multi-tracked Halvorson piece "Ship," all loops stacked up and toppling over. There's a fine feature for Ribot and Sharp on acoustic, "Wobbly," with loads of rough woody slashing contrasted with sudden introspection and dynamic shifts. But generally things tend towards the more cosmic ("Shredding Light") or the noisy ("Sinistre" or "I'm Gonna Party Like It's 1998"). Sharp makes nifty use of his Ebow on the resonant "Sequola," where Halvorson plays with an unmediated, emphatic lyricism on her acoustic. And there's a monster drone on "Oronym," which also crawls with little electronic insects
struggling to stay alive under the sonic weight. The final trio returns to the vibe of the opener, darting and slashing everywhere. Lots of settings like this can sound clinical and overly technique-obsessed. These three use the guitar as a springboard to pure, shared invention.

// SCRAMBLED //