{"id":12473,"date":"2020-03-06T16:40:36","date_gmt":"2020-03-06T21:40:36","guid":{"rendered":"https:\/\/panm360.com\/records\/invisible-ritual\/"},"modified":"2020-03-16T17:33:33","modified_gmt":"2020-03-16T21:33:33","slug":"invisible-ritual-tyshawn-sorey-jennifer-curtis","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/invisible-ritual-tyshawn-sorey-jennifer-curtis\/","title":{"rendered":"Invisible Ritual"},"content":{"rendered":"\n

Following The Adornment of Time<\/em>, his duo album with pianist Marilyn Crispell released in the fall, a long improvisation lasting more than an hour that at times takes on an almost initiatory dimension and whose monumental finale leaves one speechless, Tyshawn Sorey offers us a second one, this time with violinist Jennifer Curtis, a member of the International Contemporary Ensemble with whom he has been playing in tandem for several years. Eight spontaneous compositions in which Sorey alternates between drums and piano. Not coming from jazz, the violinist has a rich and varied palette in which one finds as many elements from the folk traditions of Eastern Europe and South America as from the United States and even, it seemed to me on one or two occasions, from Southeast Asia. These she gives a good polishing and boldly energizes by adding contemporary nuances, avant-garde jazz or downright rock, as on the superb track IV. Occasionally, the two accomplices are even lyrical and contemplative, as on track VI, where Sorey reveals himself to be a remarkable colourist on the piano. Yes, these two musicians have a great affinity, and the pleasure they have in playing together is infectious.<\/p>\n\n\n\n