MAWJA STUDIO ONE
BULLOCK | KERBAJ | RAWLINGS
Michael Bullock | contrabass & feedback
Mazen Kerbaj | trumpet
Vic Rawlings | cello & surface electronics
all music improvised by bullock, kerbaj andrawlings
tracks 1 to 4 recorded at pancake alley, troy NY on 14th of september 2005
tracks 5 and 6 recorded at candlestick maker, chicago IL on 17th of september 2005
recorded by michael bullock
mastered by bhob rainey
artwork and design by mazen kerbaj
produced in lebanon by al maslakh
CD LINER NOTES
ONE STRIKE ISN'T ENOUGH
This album struck me like a big wave, a wave that makes you lose your consciousness and equilibrium for several minutes, leaving you wondering what just happened to you during this elusive lapse of time. Probably this is exactly the purpose of this trio, where as their music draws rust from your very skin, suburban rust, from those big suburbs where the individual melts, and all individuality is melted by the heavy burden that eats all. The sound ate the self, ate the collective, ate time, and invaded space.
I wasn’t expecting such a radical treatment of sound. The music here goes out of time, depriving it of its value despite the usual ties that link time and music as an art form. What we hear is rather a strong binding with space, using it as a compositional tool. This music does not move, but it wanders like blocks of colours or shapes in the empty.
The reunion of Bullock, Rawlings and Kerbaj for this recording leaves no possibilities for any future; it is a meeting of the here and now, like the musical result that is released with this recording. The Present time is simultaneously constructed and deconstructed, making the “now quality” predominant on the atmosphere of this record. The unified sound of the trio fills the air like a short-wave radio signal, carrying its usual load of small marginal details; a sound that resembles music or walks by it without remorse, not stopping at any station along the way.
Three musicians, both friends and enemies, yet above all partners of this same game, where there are no rules for improvising; one erases the other, without regret, for the sake of unity in sound.
Beirut, March 2007
Recorded in 2005 and released by the Lebanese label Al Maslakh, which translates as The Slaughterhouse, Studio One documents two compatible performances at Pancake Alley, New York and Candlestick Maker in Chicago by Michael Bullock (contrabass and feedback), Mazen Kerbaj (trumpet) and Vic Rawlings (cello and surface electronics). Theirs is a quiet and occasionally tentative improvised music, allowing drones to establish an atmosphere before the players muddy it, in the process finding new directions and the means to explore them.
This is the companion piece to the live collaborations I previously reviewed here, however this has the artists collaborating in a studio setting as opposed to a live one. Considering the nature of improvisations, the differences between the two settings are relatively minimal. Recorded during the same period as the Live One disc, the sounds here are, interesting enough, a bit darker, more harsh and dissonant than the improvisations in the live setting.
[...] With Mawja something different is going on. It is a trio of Michael Bullock (contrabass, feedback), Mazen Kerbaj (trumpet) and Vic Rawlings (cello, surface electronics). Recordings date from 2005 and were made in New York. Bullock and Rawlings are two american improvisors who play together already for some years and have some very good CDs out. 'Studio One' is a true melting pot of acoustic playing, and using electronic and electro-acoustic means. A very radical treatment, investigating sound and textures, especially in their going together as acoustic and electro-acoustic soundmaterial. Most of the time it is very difficult saying who is playing what. They paint very abstract music, built around slow movements and changes, but dotted with all kinds of little details.
Featuring Michael Bullock (contrabass and feedback), Mazen Kerbaj (trumpet) and Vic Rawlings (cello and surface electronics), for sure Mawja are a trio whose attitude is not overly expansive towards the audience, their music being based upon a consecutiveness of mostly subdued plumbeous scenarios, essentially characterized by background spurious staticity over which the players examine various combinations of unfriendly improvisations and noisy transmissions. There are tracks in which certain gradations are more evident, but the general sense is one of collective edginess, each one of the musicians trying to find a way to place additional measures of anxious harshness amidst strange frequencies and instrumental utterances that cross-pollinate animal voices and radical electronics. The fifth segment is the most convincing example of what I mean, a deadpan undergrowth of semi-controlled feedback and grumbling intricacies whose volume increases with the passage of time, Kerbaj's trumpet sounding (as usual) more like some mechanical appliance or malfunctioning vehicle rather than a blown-up brass. Occasionally, the music almost seems to stop altogether, like if Mawja were searching another way to render their creativity even less charming to the ears; their ideas remain nevertheless interesting, exposed as they are in a half-scientific, half-segregationist costume. A difficult album, scarcely communicative and without bright colours yet presenting us with several fascinating moments. The artists' seriousness is out of question.
A testimonianza della mobilità di questa liaison tra Libano e Usa, nel settembre del 2005 Kerbaj ha registrato a New York e Chicago due sessions con Michael Bullock e Vic Rawlings, formalmente contrabbassista e violoncellista, ma entrambi impegnati anche all'elettronica. Il trio, documentato su Mawja-Studio One, è protagonista di sei improvvisazioni in cui il trattamento del suono è particolarmente radicale, riduzionista, con gli strumenti che sono quasi sempre irriconoscibili e privati della loro identità sonora per assumerne di fantasmatiche, sussurrate, soffiate, sfregate, picchiettate, lacerate, sbriciolate, pulsanti in lontananza. Musica che difficilmente dà punti di appiglio, che tende a sfaldarsi appena si tenta di prenderla, idealmente, tra le mani. Una musica in viaggio.
Debiutem płytowym amerykańsko-libańskiego tria mają być, nagrane w połowie września 2005 r. i wydane w tym roku, w krótkim odstępie czasu, dwa komplementarne albumy. Będąca podmiotem tej recenzji płyta studyjna już się ukazała, natomiast "Live One" powinien wyjść na dniach. Ponieważ uważam "Studio One" za jedno z najciekawszych tegorocznych wydawnictw, postanowiłem od razu napisać kilka zdań na jego temat.
About the sister CD MAWJA Live One (Chloë Recordings) recorded during the same 2004 US tour
Lebanese cornettist Mazen Kerbaj was thrown together with local bassist Michael Bullock and cello/electronics guy Vic Rawlings for a one-off gig at the Midway Cafe in Jamaica Plain, MA. The chemistry was immediate and this disc, mastered by Bhob Rainey, is the result of a return engagement. It's all impressively quiet and unaffected. Kerbaj's horn is subject to all manner of treatments, most of which render it utterly unidiomatic and the electronics and feedback generate an inclusive soundscape that must be utterly involving in a live situation.
In the world of improvised music, the action is more important than the product, but there are a lot of products to document the action. In Vital Weekly Dolf Mulder already discussed the first release by Mawja, which contained recordings from 2005 and here is the second, also with recordings from that intense week in 2005. Mawja is Michael Bullock (contrabass, feedback), Mazen Kerbaj (trumpet) and Vic Rawlings (cello, surface electronics) and started life when Kerbaj went to the USA for the first time and played improvised music. During a week these three played together, of which the first release was a studio representation of their work, while this is has two live pieces from the same week and is much along the same lines (in this world there is actually not really a distinction between studio and live recordings, as it's usually recorded in one go): an exploration of sound possibilities of either instrument, in combination with objects, such as in Kerbaj's case or electronics, in the case of his american partners. Things buzz, beep, collide, exhale, inhale, bump and distract: such is the world of improvised music in the twenty-first century. The instrument as anything but the instrument it is usually used. Played with objects, new techniques, almost electro-acoustic in approach. Three accomplished players, who know what they do and when they shouldn't be doing anything at all.
About the two MAWJA albums (Live One - Chloë Recordings & Studio One - Al Maslakh Recordings)
[...] Expanded spectral interaction includes bubbling mouthpiece assertions, dog-like yaps and slide-whistle-like interjections from the cornetist; full frontal slaps and pats plus sul ponticello scraping from the stringed instruments; and percussive pulsations that range from ring modulator pulsing to what could be electric shaver action and marbles being rolled in irregular patterns. Inchoate and suggesting crossed wire interference and intermittent AC/DC pulsations, the backing oscillations ratchet through the undertow to expose an intermezzo of jagged, fortissimo whines, which finally subside into rough, connective timbres.
|© Al Maslakh,
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