CD digisleeve 4 pagine

Mia Zabelka _ violino _ voce
Yoko Miura _ pianoforte _ melodica
Lawrence Casserley _ strumento di elaborazione del segnale

MYL Trio è un nuovo interessante ensemble e la loro prima uscita è questo album dal vivo registrato nel settembre 2023 a Brötz (Göteborg), a Fylkingen (Stoccolma) e all'Antikvariát a klub Fiducia (Ostrava). Tutti i brani sono registrati, mixati e masterizzati da Lawrence Casserley.

“(…) Known as a composer, academic and proponent of electro-acoustic music, the UK’s Lawrence Casserley has increasingly involved his signal-processing expertise in live improvisations, most notably with Evan Parker. Extending his programming expertise further, Casserley’s recent projects, including these incisive example, have him interacting with an ever-widening group of like-minded players.
Both more and less acoustic, the MYL Trio disc’s only wind affiliations come from those few instances when Miura’s melodica puffs intersect with electronic burbles. Zabelka also studs the final encore with vocalized cackles, mumbles and yowls in straited contrast to the swinging motifs the pianist creates following her shift from repeated keyboard plinks and slides. As early as “Conflux in Göteborg”, the first track, chiming echoes and squeaky ripples from the signal processing and the violinist’s subsequent turn from harmony to ascending spiccato stops projects a horizontal direction as the pianist turns from single note comping to more animated intricate keyboard variations with internal echoes on one hand and pressurized cascades on the other. Throughout, the trio tries out varied strategies, often in broken-chord evolution, with the violinist’s encompassing sul tasto rubs and  doubled stops and slides; the pianist vibrating implements on top of her instrument’s inner string set, as methodical chording is sometimes interrupted by multiple feints, passes and stops; and the signal processing instrument’s textures wiggling and flanging.
“Strata in Stockholm” is an extended version of this teamwork at more than 22 minutes. Initially Miura  cannily alternates faux-romantic swells with inner string chiming, a motif that is picked up and doubled by Zabelka’s almost unbroken fiddle drones as Casserley’s program projects whooshes, slides and shakes.  While the violinist uses sul ponticello strokes to sound out a half-orotund/half obstreperous theme variation, and the electronic indications turn progressively dissident, the pianist plays on unperturbed, adapting dissidence to her cadences and completing the piece with a final single piano note.” Ken Waxman, Jazz Word, 2024.

01 _ Conflux in Göteborg 15:54
02 _ Infinite Realities 5:22
03 _ Relative Alternity 3:48
04 _ Strata in Stockholm 22:02
05 _ Mirror to Mirror 4:08
06 _ Encore in Ostrava 6:37

(C) + (P) 2024

CD digisleeve 4 pages

Mia Zabelka _ violin _ voice
Yoko Miura _ piano _ melodica
Lawrence Casserley _ signal processing instrument

MYL Trio is a new interesting ensemble and their first release is this live album recorded in September 2023 at Brötz (Göteborg), at Fylkingen (Stockholm) and at Antikvariát a klub Fiducia (Ostrava). All tracks recorded, mixed and mastered by Lawrence Casserley.

“(…) Known as a composer, academic and proponent of electro-acoustic music, the UK’s Lawrence Casserley has increasingly involved his signal-processing expertise in live improvisations, most notably with Evan Parker. Extending his programming expertise further, Casserley’s recent projects, including these incisive example, have him interacting with an ever-widening group of like-minded players.
Both more and less acoustic, the MYL Trio disc’s only wind affiliations come from those few instances when Miura’s melodica puffs intersect with electronic burbles. Zabelka also studs the final encore with vocalized cackles, mumbles and yowls in straited contrast to the swinging motifs the pianist creates following her shift from repeated keyboard plinks and slides. As early as “Conflux in Göteborg”, the first track, chiming echoes and squeaky ripples from the signal processing and the violinist’s subsequent turn from harmony to ascending spiccato stops projects a horizontal direction as the pianist turns from single note comping to more animated intricate keyboard variations with internal echoes on one hand and pressurized cascades on the other. Throughout, the trio tries out varied strategies, often in broken-chord evolution, with the violinist’s encompassing sul tasto rubs and  doubled stops and slides; the pianist vibrating implements on top of her instrument’s inner string set, as methodical chording is sometimes interrupted by multiple feints, passes and stops; and the signal processing instrument’s textures wiggling and flanging.
“Strata in Stockholm” is an extended version of this teamwork at more than 22 minutes. Initially Miura  cannily alternates faux-romantic swells with inner string chiming, a motif that is picked up and doubled by Zabelka’s almost unbroken fiddle drones as Casserley’s program projects whooshes, slides and shakes.  While the violinist uses sul ponticello strokes to sound out a half-orotund/half obstreperous theme variation, and the electronic indications turn progressively dissident, the pianist plays on unperturbed, adapting dissidence to her cadences and completing the piece with a final single piano note.” Ken Waxman, Jazz Word, 2024.

01 _ Conflux in Göteborg 15:54
02 _ Infinite Realities 5:22
03 _ Relative Alternity 3:48
04 _ Strata in Stockholm 22:02
05 _ Mirror to Mirror 4:08
06 _ Encore in Ostrava 6:37

(C) + (P) 2024