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Awakening Orchestra
The Awakening Orchestra, led by composer Kyle Saulnier, is a large ensemble (roughly two dozen players) that works on a broad canvas. Their new digital-only album, Volume II: To Call Her to a Higher Plain, which is available from the Biophilia label, runs just shy of two hours and includes two complete symphonies, as well as interpretations of tunes by Bill Frisell, Molly Drake (folk singer Nick Drake‘s mother), and Nine Inch Nails, as well as a choral piece by Eric Whitaker that’s been rearranged as a brass chorale.
The music is basically modern big band with a cinematic flair, and will likely remind many listeners of the work of contemporary ensembles like Darcy James Argue‘s Secret Society, the Maria Schneider Orchestra, the Michael Leonhart Orchestra, Miho Hazama‘s m_unit, but there are tinges of 1970s movie scores by Lalo Schifrin and Dave Grusin here, too.
The ensemble’s version of Nine Inch Nails‘ “Burn” (from the Natural Born Killers soundtrack) is terrific. In some ways, it resembles the recreations of electronic pieces using acoustic instruments that Zeitkratzer and Alarm Will Sound have recorded, but there’s much more going on here than that. The use of trilling flutes and reeds, and the eventual trumpet and trombone fanfares, give the whole thing the epic sweep and grandeur of the David Shire theme to The Taking of Pelham One Two Three, and Nathan Hetherington‘s vocal is a good middle ground between jazzy theatricality and the sputtering rage of Trent Reznor.
The title piece could be an album by itself. Stretching across three movements, with two short cadenzas serving as bridges, it’s just under 34 minutes long. It takes its title from former US Senator and failed 1972 presidential candidate George McGovern, who wrote, “The highest patriotism is not a blind acceptance of official policy, but a love of one’s country deep enough to call her to a higher plain.” It begins somberly, with low brass and soaring but jagged violin (from Brooke Quiggins Saulnier, the composer’s wife). Soprano saxophonist Samuel Ryder also gets solo space in the first movement, “On the Technicians of Power”; his biting phrases and high-pitched long tones, combining emotional flourishes with an innate desire to withdraw immediately afterward, are reminiscent of the latter-day work of Wayne Shorter on albums like Without a Net and Emanon. The full ensemble surges behind the spotlight players, a massive, martial backbeat adding force.
This is mournful but expansive music, deeply romantic and as indebted to lush ’70s soul at times as to modern composition. John Yao‘s trombone solo in the second movement of the title suite, “On the Acceptance of Things That We Can Not Change,” comes in the middle of a piece that’s as grandiose as any Gamble & Huff production, even with the violin piercing through like a jabbing needle. The balance of monochromatic starkness, during the Balkan violin passages, and the larger-than-life explosions of color from the full ensemble, make it a uniquely dynamic experience. Take the full two-hour ride; you’ll be glad you did.
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The Awakening Orchestra: Volume II: To Call Her to a Higher Plan

by Angelo Leonardi
Tra gli orchestratori e bandleader emersi di recente Kyle Saulnier è uno dei più interessanti. Il suo esordio con l'Awakening Orchestra nel doppio This Is Not the Answer (Innova 2014) ha rappresentato una sorprendente rivelazione per padronanza di scrittura e spregiudicata sintesi di elementi diversi, inclusi il free e il rock. Con un taglio espressivo un po' diverso, il successivo Atticus Live! (Biophilia 2016) ha confermato la versatilità del leader nel coniugare altri mondi musicali (ovvero le musiche ...
Continue ReadingAwakening Orchestra: Atticus Live!

by Jack Bowers
Sorry. If this is the direction in which big-band jazz is moving, please apply the brakes as quickly and gently as possible so that this listener may exit the train. When it comes to big bands, some members of an older generation cling to standards that must always be upheld. Not swinging is from time to time a forgivable sin, depending on the circumstances; plodding erratically forward with a minimum of charm and no clear purpose in mind is less ...
Continue ReadingAwakening Orchestra: Interlude: Atticus Live!-The Music of Jesse Lewis

by Karl Ackermann
On the heals of the excellent debut This Is Not the Answer, Vol 1 (Innova Recordings, 2014), composer/conductor Kyle Saulnier leaves the writing credits to featured guitarist/composer Jesse Lewis on Interlude: Atticus Live!-The Music of Jesse Lewis. Not a regular member of Saulnier's Awakening Orchestra, Lewis had recorded each of these tracks on his similarly named Atticus (Self-Produced, 2008). Saulnier was intrigued by the notion of recreating these tunes with his twenty-piece jazz orchestra and set about to capture that ...
Continue ReadingAwakening Orchestra: Vol. 1: This Is Not the Answer

by Angelo Leonardi
Questo debutto di Kyle Saulnier è uno dei lavori orchestrali più ricchi e appassionanti degli ultimi anni, paragonabile per fantasia e freschezza a Infernal Machine, il disco d'esordio di Darcy James Argue. Compositore e polistrumentista, Saulnier è nato nel Connecticut, ha studiato composizione alla Berklee e alla Manhattan School of Music e risiede da anni nel Bronx, New York. Per quasi sette anni ha scritto e provato partiture con questa formazione -dando sporadici concerti in locali decentrati-e dopo ...
Continue ReadingAwakening Orchestra: Vol. 1: This Is Not the Answer

by Karl Ackermann
Connecticut native Kyle Saulnier is both a life-long student and a working teacher of jazz. The multi-instrumentalist and composer leads the 20-piece Awakening Orchestra's debut, This Is Not the Answer and it is as rare an achievement as Carla Bley's historic Escalator Over The Hill (ECM, 1971). The latter work--more jazz-operetta in orientation and prescribed in its thematic flow--nevertheless shares many similar elements and the Awakening Orchestra has created no less of a monumental event. Subtitled, Of Conflict ...
Continue ReadingDOWNBEAT “In effect, this is a Great American Songbook of another order... the ensemble captures an epic, sweeping sound in a quest to reach a higher realm.” — Herb Boyd
ALL ABOUT JAZZ “[A]s rare an achievement as Carla Bley's historic Escalator Over The Hill (ECM, 1971). The latter work—more jazz-operetta in orientation and prescribed in its thematic flow—nevertheless shares many similar elements and the Awakening Orchestra has created no less of a monumental event. … The title track is a four- part suite and nothing short of a masterpiece. Saulnier's challenging score embraces the diverse families of instruments that make up the Awakening Orchestra. Each of the four movements has a unique personality, drama and subtle beauty that that approaches an altered musical realm without overreaching. … [The] versatility within This Is Not the Answer is exceptional and while the individual pieces can sound episodic at first listen they later gel in a holistic way. … This Is Not the Answer is tour-de-force and one of the best albums of the year.” —Karl Ackermann