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Breathe In, Feed Out fuses the extended imaginations of three of LA’s fine free creators: Kris Tiner, trumpet, Noah Phillips, guitar & electronics, and Sara Schoenbeck, bassoon. Together they fashion moody thoughtful music that delivers unexpected warmth and familiarity.
Phillips stretchy metal dominates Tiner’s “Skujellifeddy.” Tiner and Schoenbeck play long unisons while Phillips buzzes and shreds. After the active opening, Tiner and Phillips play counterpoint with Schoenbeck, going out pensive. Tiner uses soulful phrasing on “A Wind Shift,” engaging Schoenbeck in conversation, with Phillips dropping distortions and sneaky notes.
Beginning with a three-way pyrotechnic display, the edgier “Clocks and Maps” slows with Phillips’ sonic sketches, and Tiner and Schoenbeck swap tales to the otherworldly electric effects. Sly, slippery sounds from Phillips open “Like Red Flowers,” a luscious, sultry ballad. Tiner plays it blue and lonesome, shading and phrasing. Schoenbeck blows her warm woody tone through some stormy passages before Tiner drops his supportive mute to cry like a gifted baby
Spontaneous instrument sounds and noises open ”Winddrone, Water Drying,” which shifts into high gear like a truck coming apart. Then the trio strikes gold on Tiner’s “Road from Kumasi.” Phillips repeats a simple hopeful figure and Tiner laces it with expressive, melodically strong variations. Schoenbeck follows, like her fellows, exploiting her instrument’’s richest range, shaping, bending, rounding notes.
After the fanfare intro, “In This Dull City” retreats and revives with trills and dramatic voicings. The intriguing “They Mistook Time For Line” features an oozing solo from Phillips, soon joined by Tiner’s tart mute. All three explore unusual voicings on “Metal Skin,” from Phillips' buzz and drones to Tiner and Schoenbeck’s multiphonics and toneless blowing. All three explore raw ragged tones to start “Force a Smooth Thing.” Phillips employs a number of effects boxes to achieve effects unintended by their designers. As Phllips samples radio Tokyo, Tiner and Schoenbeck come looming back, then Phillips sprays distortion.
With their first release, Tiner, Phillips, and Schoenbeck establish themselves as sound scientists of the heart.
Track Listing: Skujellifeddy; A Wind Shift; Clocks and Maps; Little Red Flowers; Winddrone, Water Drying; Road From Kumasi; In This Dull City; They Mistook Time For Line; Metal Skin; Force a Smooth Thing.
Personnel: Kris Tiner, trumpet, flugelhorn, piccolo trumpet, reeds; Noah Phillips, electric guitar, electronics; Sara Schoenbeck, bassoon.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.