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Quick and to the Point: Free jazz with a feminist bite.
Under the sponsorship of the National Association for Womanhood, the Berkeley-based Californian Musical Institute, granted funds for “musical works that probe contemporary intellectual achievements by women and/or are inspired by a full-figured feminist perspective.” Hear Me Yell! by the Full-figured Brass Vagina Dentata –or FBVD– is the first recording issued under such auspices. Each of the members of the group composed one tune and all chipped in for the closer.
The odd sonic combination of FBVD lends itself well to their firecracker brand of free jazz. “We Blow You Away” is a moaner of a tune –and the shorter tune of the date– whereupon Jenny Esteves’ bass clarinet undulates back and forth amidst pulsating trombones, and an ever- deepening thrust by Cecilia Pauli’s tuba. In the title cut, the nagging and screeching –particularly from the French horns and the cornet– tries one’s listening attention and patience. “Ché Wimmin” is a tango based cut that allows the FBVD to play alongside each other with such discordant precision that they end up sounding like Astor Piazzolla with an accordion with many broken keys.
Intellectual figures and movements –from Schifrin’s Sade inspired works to Haden’s flirtation with leftism and beyond– have long inspired jazz; their translation into coherent musical discourse has not been entirely consistent nonetheless.
Track Listing: 1. Wimmin-Debby Tindor 2. We Blow You Away-Yoshida Fong 3. We Will, Will We?-
Yomarie Silva 4. The Future-Adana Mirza 5. When We Go To War-Cecilia Pauli 6.
Constipated Inflow-Jenny Esteves 7. Hear Me Yell!-Gretchen Class 8. Ch
Personnel: Bass Clarinet & Baritone Flute: Jenny Esteves. Cornet: Gretchen Class. Saxophones, Clarinet,
Piccolo & Alto Flute: Elizabeth Kabala. Trombones: Debby
Tindor & Yoshida Fong. French Horns: Adana Mirza & Yomarie Silva. Tuba:
Year Released: 2003
| Record Label: Inchoate Age Albums
| Style: Modern Jazz
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.