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Matty Stecks & Musical Tramps - Long Time Ago Rumble

Matthew Steckler

Label: Ropeadope
Released: 2020
Duration: 01:43:38
Views: 1,991

Tracks

LTAR I: Invocation; Siddhartha; LTAR II: The Gathering; MB Blues; LTAR III: Good & Evil; Modern Preternatural Rumble; LTAR IV: Pugilism; Heads or Tails; LTAR V: Ritualism; Begging the Beguine; Musical Tramps (2019); LTAR VI: Phases; Wish; LTAR VII: Antiquity (Peace); The Sloth; LTAR VIII: Counter Culture; Feel My Way Forward; Shape of Rumbles to Come; LTAR IX: Isolation; Somersault of the Earth

Personnel

Matthew Steckler

saxophone

Keith Price

guitar

Eric Platz

drums

Matt Kozicki

bass

Leanne Zacharias

cello

Cathy Wood

clarinet

Jeff Presslaff

trombone

Lenya Wilks

vocals

Hannah Fearn

vocals

Megan Demarest

vocals

Album Description

With his first double album effort, Matt Steckler has created something eclectic along the following streams: modern jazz, film score, musique concrète and popular song. The cast of talented musicians assembled put their heart and soul into this effort, which began as a live world premiere concert, commissioned by Brandon Chamber Players in January 2019. Together, the ensemble is lovingly called Matty Stecks & Musical Tramps (named after the 1914 Chaplin film which Steckler re-scored for the occasion). The resultant larger work - Long Time Ago Rumble - is one continuous listen in concept. Generally, it alternates between through-composed material rooted in tradition; and sound collage mixed with collective improvisation. The latter is a research study in lived experience for several of these musicians (“co- investigators”), who ponder the theme “Long Time Ago Rumble” - then use their own field recordings and journals as generative material to guide improvisation and collage. This binary of approaches itself is one tension, or “rumble,” perhaps worth exploring as one listens. Noteworthy is the album’s eclectic spirit, owing to a diversity in talent and skill of musicians culled from the Manitoba arts scene. In somewhat Ellingtonian fashion, pieces were composed to showcase the strengths of these performers – both in the spotlight and in collaboration. Steckler, a native New Yorker but residing currently in this “open-air” province, capitalizes here on the open-mindedness of local artists toward broader definitions of jazz and genre. The result is a long-form work as both singular concept in process and pluralistic journey in performance.

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