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John eats Bacon with Francis in the Cage
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CD 2111
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"John eats Bacon with Francis in the Cage"
SLAMCD 2111 Barcode: 5028386713722
Perlin Noise: Irene Kepl – violin, Stephanie Schoiswohl - alto sax, Villy Paraskevopoulos – piano, Alessandro Vicard – contrabass, Mark Holub – drums. Recorded at Marinegrau, Vienna 4rd - 5th January 2019 Perlin Noise is an algorithm which allows computer graphics artists to represent the complexity of natural phenomena in visual effects and is often used in the creation of computer-generated visual elements. Through the composition of Alessandro Vicard, THE PERLIN NOISE QUINTET translates this idea into acoustic terms, the sonic results expressed in composed and improvised
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SLAMCD 2111
CD Title : John eats Bacon with Francis in the Cage
Leader or group name: Perlin Noise
Names of musicians and the instruments they play.
Irene Kepl - violin
Stephanie Schoiswohl - alto sax
Villy Paraskevopoulos - piano
Alessandro Vicard - contrabass
Mark Holub - drums
Track details:
Running order
Track titles
Tracks
1Barocco – 6.46
2Il moto die corpi – 6.47
3Cellula – 5.58
4John eats Bacon with Francis in the Cage – 6.51
5Melodia - 10.09
All compositions by : Alessandro Vicard
Recorded in Vienna 4rd - 5th January 2019
Recording by: Roland Schützenhofer Mixing by : 12th - 13th January 2019 Chris Janka
Mastering by: Chris Janka
F uturist takes on the violin-reed-rhythm section paradigm that has been used by canny improvisers since the Hot Club of France expanded and fiddlers like Eddie South or Stuff Smith organized combos. Not that Irene Kepl of Perlin Noise or Clément Janinet is an ace string wizard like Stéphane Grappelli, Smith or South. But the nonpareil urbanity each brings to John Eats Bacon with Francis in the Cage or DANSE posits distinctive comportment for the string player during the program. Kepl’s manifold skills join with the five players of Perlin Noise in creating expansive orchestral colors, while Janinet’s O. U. R. S. contributions add an overlay of dervish-like abandon to the other disc.
Modernism could be the key description of Perlin Noise, for as early as "Barocco", the first track, Baroque inflections are quickly superseded by a polyphonic pulse including swing-Jazz piano riffs, emphasized string sweeps and swirling horns. A Vienna-centred aggregation with EU-aspirations, all the quintet’s tracks were composed by Sicilian bassist Alessandro Vicard, who moves among noted , Pop and improvised music, with the likes of Michael Fischer and Didi Kern. Pianist Villy Paraskevopoulos has transplanted himself from Athens to the Austrian capital, which is where Austrian violinist Irene Kepl who plays with George Cremaschi as well as this group’s drummer Mark Holub, a Led Bib member, also resides. Alto saxophonist Stephanie Schoiswohl is also part of the Grazias Saxophone & Flute Quintet.
Despite these notated music credentials and in spite of euphonious motifs in some of John Eats Bacon with Francis in the Cage’s five tracks, this is no Third Stream attempt. Instead melodic underpinnings snake through the tunes while concurrently the soloists’ breaks and detours move the sequences into the realm of pure improvisation and/or reflections of other sounds. For example Holub’s dramatically shaped patterns and pulses on "Melodia" give way to a low-pitched violin-piano showcase that could be a mini-concerto. In contrast the title tune’s exposition is scattered among Rock, Swing and march inferences that ratchet at 78 rpm of silent-movie-frame speeds. Most characteristically, Vicard’s walking bass thumps contrast enough with Kepl’s high-pitched spiccato stops on "Cellula" to suggest both gypsy Jazz and layered ensemble coloring until the tune climaxes with downward sliding concurrence.
As erudite as they are entertaining, these bands have convincingly positioning this instrumentation within the creative music framework.
—Ken Waxman http://www.jazzword.com/one-review/?id=130198
Il nome di questo quintetto, Perlin Noise, è un algoritmo che viene usato dagli artisti grafici che lavorano con il computer per ottenere degli effetti visuali. I cinque sono guidati dal contrabbassista Alessandro Vicard, austriaco, autore di tutte le composizioni. La loro musica suona ispirata da tanti fenomeni del passato, il disco apre con Barocco, un brano in cui, come per il resto, improvvisazione e composizione trovano un equilibrio ben gestito, in cui si permette ai musicisti di dare il loro importante contributo in assoli piuttosto energetici. È proprio in Barocco si nota questa inventiva, la capacità di spostarsi da un genere all’altro, dal barocco al free nel nostro caso, come se fosse la cosa più naturale. I protagonisti sono Irene Kepl al violino, Stephanie Schoiswohl sax alto, Villy Paraskevopoulos pianoforte, Alessandro Vicard contrabasso e Mark Holub alla batteria. Sono tutti musicisti che agiscono con vivacità, la sassofonista sembra uscire dai dischi free per la Impulse degli anni ’60, il batterista sa gestire le energie in modo sottile quando chiamato a farlo, ma riparte imperterrito nei momenti più convulsi. Sul lungo Melodia che chiude l’album parte con un assolo di batteria prima che arrivi il complesso tema e la ricerca di una melodia in mezzo a spazi ritagliati fra il silenzio. Un disco originale in cui l’avanguardia mostra la sua capacità di rinnovarsi e portare idee nuove facendo onore al proprio nome.
Vittorio lo Conte http://www.musiczoom.it/?p=31928#.Xzu-6ehKi1t
GOOGLE TRANSLATE: The name of this quintet, Perlin Noise, is an algorithm that is used by graphic artists who work with computers to obtain visual effects. The five are led by the double bass player Alessandro Vicard, Austrian, author of all the compositions. Their music sounds inspired by many phenomena of the past, the disc opens with Barocco, a song in which, as for the rest, improvisation and composition find a well-managed balance, in which the musicians are allowed to give their important contribution in solos. rather energetic. It is precisely in the Baroque that we notice this inventiveness, the ability to move from one genre to another, from baroque to free in our case, as if it were the most natural thing. The protagonists are Irene Kepl on violin, Stephanie Schoiswohl alto sax, Villy Paraskevopoulos on piano, Alessandro Vicard on double bass and Mark Holub on drums. They are all musicians who act with vivacity, the saxophonist seems to come out of free records for the Impulse of the 60s, the drummer knows how to manage energies in a subtle way when called upon to do so, but restarts undeterred in the most frantic moments. On the long Melody that closes the album, he starts with a drum solo before the complex theme arrives and the search for a melody in the midst of spaces cut out between silence. An original record in which the avant-garde shows its ability to renew itself and bring new ideas by honoring their name.
Perlin Noise is comprised of Irene Kepl/vi, Alessandro Vicard/b, Villy Paraskevopoulos/p, Stephanie Schoiswohl/as and Mark Holub/dr. The material includes some elliptical Bartokian strings juxtaposed with bright alto work on the askance "Barocco" to some flailing strings and sticks on the ten minute "Melodia". Breathy mouthpiece pants and rustling percussion comprises the title track and scratching bows and jagged chords grind during "Cellula" with a mix of thrash and crash for "Il Moto Dei Corpi". Spontaneous combustions? George Harris Jazz Weekly 4/9/20 https://www.jazzweekly.com/2020/04/grand-slamhoward-riley-more-listening-more-hearing-perlin-nose-john-eats-bacon-with-francis-in-the-cage-locked-locked/
Curious as to the origins of this band’s name, I went browsing and discovered that Perlin Noise is an algorithm which allows graphics designers and gamers to imitate the complexity of natural phenomena in computer-generated visual effects. It is often used in the creation of such visual elements, for example in the synthesis of the appearance of fluids, but this is just one of many applications.
I was able to realise, after listening to the album a couple of times, that this was perhaps the process, developed acoustically, by which Vicard’s compositions were expressed in sound. The music fluctuates between free improvisation and compositional structures and these vicissitudes are pretty random. Alto, piano and violin execute taut, knotty, composed sections in between solo instruments’ segments. The randomness at times may distance the music, but it is, nonetheless, a warm, highly-flavoured sound, strewn with articulate dialogues and astonishing experimentations.
This is a contemporary, classical/improv ensemble, whose five musicians share elements of an innovative musical background which ranges through classical, experimental, improv, jazz and ‘world’ music. They create some monstrously challenging music to play, in part because they each contribute their proclivity for creation and improvisation. Their combined experiences in playing such diverse music and performing on stage, in the studio or orchestra pit, means that they know how to do it and the do it with aplomb. We have a part to play too: we need to listen – it’s marvellous. Ken Cheetham https://www.jazzviews.net/perlin-noise---john-eats-bacon-with-francis-in-the-cage.html
PERLIN NOISE - John Eats Bacon with Francis in the Cage (Slam 5526; UK) Featuring Irene Kepl on violin, Stephanie Schoiswohl on alto sax, Villy Paraskevoulos on piano, Allesandro Vicard on double bass & compositions and Mark Holub on drums. The Slam, FMR and Leo labels seem to consistently release discs from dozens of musicians, many of whom are relatively unknown. Perlin Noise is a quintet who I think are based in Vienna, Austria. I am previously familiar with just 2 of the 5 members, violinist Irene Pepl, who has played here at DMG a couple of years ago and who has a duo disc out with Mark Holub. Drummer Holub is also the leader of the UK progressive band Led Bib, who have a half dozen records out, including a newer one from 2019 on Rare Noise. The leader here is bassist Alessandro Vicard, who is all the main composer. The opening piece, "Barocco", seems to mix intensely free sections with tight blasts of conducted or written episodes. Mr. Holub is a strong and is featured on "Meloda". The violin, alto sax and piano play some challenging, tight, written passages throughout most of this piece, in between interludes for just one instrument to play its written part. It is an odd way to balance things and takes some time to get used to since the changes are mostly unpredictable. When things become minimal in certain sections, we start to slow down and listen closer. I like when the piano, bass & drums play one repeating line while the violin and/or alto sax play another intersecting line, with short blasts of solo bits interspersed. I had this disc on in the store then other day when a composer/musician friend commented that he thought it was one the better discs he had heard recently. Good news and he did buy a copy. Time to play it again and listen closer so that there magic is revealed further. - Bruce Lee Gallanter, DMG February 2020
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