The Embassadors
Coptic Dub
CD/LP
cat no.: NON27
released: 20th November 2009
Late Night Perfection. (Clash)
Complete unity of playing and production. (Wire)
It is simple music. Simple in this sense doesn't mean lackluster, but rather without a choice.
(Cologne Stadt Revue)
Perfect because of the atmospheres, the musical realisation, and the soulfulness which each and every piece exudes. Simply magnificent. (Tonight)
Everything here, even Friedman´s effects, is understated. Don't expect to be wowed, expect to be gently lulled into bliss.
(All Music)
So laid back that it's almost horizontal...music which seems to reflects the light of day, as if it would listen to itself. (Jazzthetik)
Indeed, what makes Coptic Dub so interesting are those strange moments disconnected from, yet inevitably shaped by, what just happened and what is about to follow. (Dusted)
Coptic Dub’s cinematic aspect is enhanced by the band’s exquisite textures and refined orchestrations, making it a pleasantly subdued tour de force. (The Milk Factory)
Tracklisting CD/LP:
1 Sierra Alone 5:59
2 Interlude 1:08
3 Iboga Dreamtime 8:24
4 Dagaz Eterna 5:32
5 Polar Sexus 5:01
6 Albino Maori Dub 6:15
7 Desdemona Breathes 3:04
8 Big Amen 6:18
Matt Penman: Upright Bass
Jochen Rueckert: Drums
Hayden Chisholm: Saxophone, Clarinet (5),
Hammond Organ, Steeldrum (4/5/6)
Bruno Mueller: Electric Guitar (tracks 1/4/5/8)
Robert Nacken: Electric Guitar (tracks 1/3/8)
Burnt Friedman: Korg Ms20 Synth., Sampler,
Effects, Steeldrum (tracks 2/7)
Claudio Bohórquez: Cello (tracks 2/7)
Produced by Hayden Chisholm and Burnt Friedman
Composed by H.Chisholm except tracks 2/6/7 by Chisholm/Friedman
Mixed and arranged by B.Friedman except Polar Sexus by Rashad Becker
There are no "solos" as such on this album, the grooves are steady and the developments take place not in the melodic voices but in the sounds themselves as they are worked on in the mix, drawing on the tradition of dub music. Most of the voices are processed and there is a great attention to detail in the sound. The pieces are given ample time to unfold though there is seldom any parts repeated without some variation. In other words, the aesthetic principles of this music have little to do with those of "jazz".
Some excerpts from my musings on Coptic Dub
...the instrumental sounds and mixing processes on this album have undergone so many levels of refinement they can easily defend themselves without the justification of the creators (this kind of breathing life into a work and then letting go completely is what we do all the time, only this time I am attaching some simple instructions for use). I believe the discussion of timbre and its degree of refinement, be it acoustic or electronic, is the only semi-objective criteria when it comes to judging music. I am aware that even here there is subjectivity at play but I think there is less than anywhere else in the branches of our sound culture. Whether or not it grooves, bubbles, foams or sinks is up to each individual to decide.
How do I define refinement? I would say the gradual and careful removal of impurities. Mixed in with this, and complicating the process even more, is an aspect which has always been a part of my creations: the Japanese aesthetic of wabi-sabi which views certain impurities, especially those occurring in nature, as beautiful. A good example of this is the saxophone sound itself with its strong air component when listened to or recorded up close. It is especially noticable on this record and I left it in on purpose because of the feeling of nearness and rawness it carries with it. This aesthetic element is crucial in setting such works from the digital polishing applied in regular high end pop or even jazz productions. It almost seems a shame to lay out these ideas bare but here they are for the sun to wither- my grapes to your raisins.
The Heaps Dub production of Root70 (non20) was a drastic turn away from the jazz we had played until then and with the Embassadors I wanted to continue this exploration. To those who were wondering why I had left the sacred jazz isle I asked: Why must we constantly change the groove and feel when everything around us is changing anyway? Why must the horns always build lead voices and solos instead of blending inside the textures? Why the angst of bare simplicity? Why the melodic and rhythmic superabundance at the expense of consistent accuracy? And mein Gott what more is there to prove?
Burnt Friedman´s style of applying dubs and effects is another way of breathing more life into the sounds. What is happening here is a complex layering upon layering within which the listener can find countless points of reference to navigate her way through the works. The cover art is a simplified visual representation of such layering and open orientation. None of the sound sources are processed for the sake of it and there are deep metaphysical truths behind a simple space echo in the way our hallowed master time is played with and re-evoked. Sometimes it will approach the feeling of listening to music whilst in a dream, when individual elements are blurred in the passage of time which is no longer a simple arrow moving forward but rather an evolving and pliable cloud, inextricably linked to the perceiver. Helping listeners move away from linear thinking models is always one of the benefits of such difficult easy listening.
The album was recorded in a state of super-concentration. I only allowed myself and the musicians one shot at each take, meaning we had to have a heightened awareness before recording. This could be a throw back from being involved in enough productions in which musicians are given too many chances and cut to play like they never could in reality; or it could be that deep down, I believe that if the mindset is right the first take will always be the best.
All of the pieces on this album shared a long genesis. They were worked on in the course of several studio sessions in New York and Germany in the last few years. After I had finished recording all the instruments I left the final steps in the arrangements and mix entirely over to Burnt Friedman who took them all to new shores, sometimes beyond my own recognition- I expected nothing less. It´s easy to fall when there´s no landing.
Hayden Chisholm
August 2009
Recording Info
Jochen Rueckert and Matt Penman recorded in New York at Acoustic Studios, Brooklyn, October 2007 and May 2008, sound engineer: Michael Brorby.
Hayden Chisholm recorded B3 Hammond Organ at SS Sound design, Cologne, December 2008, sound engineer: Pedja Avramovic.
Bruno Mueller and Robert Nacken recorded guitar at their home studios respectively, February through April 2009.
Hayden Chisholm recorded tenor saxophone, clarinet and steel drums at the Nonplace studio, Berlin, May 2009, sound engineer: Burnt Friedman.
Hayden Chisholm plays Vandoren reeds and mouthpieces.
Mastered by Rashad Becker / mastering info
Produced by Hayden Chisholm and Burnt Friedman