One of the benefits of my sideline as a music writer is that I receive review copies of albums by artists I might not
otherwise have discovered. Through my ongoing contributions to RootsWorld online magazine especially, I have encountered
a wealth of fascinating music from all walks of life. One of the most intriguing of these so far is Admir Shkurtaj, an
Albanian multi-instrumentalist and composer who first came to my attention when I was asked to review his solo piano
effort,Mesimér, for the selfsame magazine. Where that album might be seen as a distillation of his diverse interests,
ranging from folk to the avant-garde, this from the same year attests further to his ability to interact, listen, and
guide. The dynamic ofGestures and Zoom—for which Shkurtaj is joined by trumpeter Giorgio Distante and cellist Redi Hasa—
is markedly different, not only for the flexibility of its means but also for its distinct methodology.
Shkurtaj elaborates on the title concept: "Gestures and Zoomis constructed from a plurality of musical gestures proposed
by each of the instruments, in chaotic order. A musical ‘gesture' means a cell or musical object. In theatrical terms,
we would say that a musical gesture is a character within the scene. Each one has/is its own character, fleeting as it is.
After several exposures, the ‘zoom' factor fixes the target of a single gesture to view it more clearly, or, in more
musical terms, to develop it in order to enhance its characteristics." From this dance of physicality and visualization,
Shkurtaj and his trio spin a wild photometry indeed.
Despite the delicate madness that follows it, the album's introductory piece is duly exploratory. Shkurtaj's tinkering
pianism seems to deconstruct as much as it builds. The insightful processes therein foil the slalom course of "Disegni"
and "Olmi," which respectively showcase the tremendously expressive abilities of Distante and Hasa. "Improntrio" is
another spiraling ride—the DNA helix as roller coaster—and reaches some dizzying heights of pitch, a ghostly conversation
in fast-forward. Moments of deep familiarity do, however, come to the fore, most notably via Albania's popular traditions
as they materialize in "Danza" and "Victoria." These nodes of locality stand out for their precision. Shkurtaj and Hasa,
both of Albanian extraction, carry out the most delicate surgery, while Distante, who hails from Italy's Apulia region,
introduces their stark themes and from them spits out a fulsome speech.
Gestures and Zoombalances improvisation and composition with great skill. Shkurtaj makes it obvious where one begins and
the other ends, and so on until the resulting blend finds solidity in an emerging narrative. "The themes of the compositions,"
he clarifies, "are structurally similar to jazz standards but have a chamber music character (I am writing for chamber
ensembles in a contemporary classical environment). Improvisation is free and based on complex rhythmical frames, such as
derivatives of the rhythmical cell 3 + 2/8 (Olmi – Victoria), and sometimes on particular musical gestures decided right from
the start (Gestures and Zoom – Disegni)." Whether or not the listener has such vocabulary to make sense of the designs, the
blend of their spinning remains clear.
What is challenging yet also enjoyable about this record is the detail of its fire. Nowhere is this clearer than in the title track. In bubbling voices and instrumental scrimshaw, an explicit liberation begins to take shape, making such programmatic gems as "Shi" all the more effective for their simplicity. Shkurtaj: "‘Shi' in Albanian means rain. I have always listened in silence to the sound of rain. When it falls on metal surfaces it becomes even more interesting. I tried to imitate this through rhythmic counterpoint on the prepared piano."
Shkurtaj's is biological music that treats its motives as Petri dishes in which to culture a balance of attunement and free wandering. Between the intriguing little "Duetto" and the culminating "Conduction" the listener may feel a switch flipped at the mitochondrial level. Of this microscopic aesthetic, Shkurtaj says, "For the most part, with the possible exception here of ‘Improntrio,' the music I write is mono-gestural. The songs are built on a single element or musical idea. This lends itself to feelings of narrow space.
That said, there's plenty of room to run around.
Tyran Grillo. 8 August 2013 http://ecmreviews.com/tag/admir-shkurtaj/
Un trio unito dal mare Adriatico che separa le rispettive terre, Albania e Puglia, ma anche dalla frequentazione
di quest'ultima da parte dei due albanesi, oltre che da una condivisa volontà di sperimentare, improvvisare,
ricercare nei suoni e nelle situazioni delle forme di espressione non banali o standardizzate. Tutto questo è il
trio di Admir Shkurtaj, pianista e fisarmonicista ricco di idee e di coraggio (clicca quiper leggere la
recensione diMesimér, suo recente disco per solo piano) che ha accanto a se il connazionale violoncellista Redi
Hasa e il trombettista brindisino Giorgio Distante.
Il lavoro è di difficile etichettatura (e già questo è un pregio), facendo riferimento e riunendo in sé una
molteplicità di ispirazioni e stilemi. C'è senz'altro molta contemporanea, come attestano "Disegni" - ricca
di vortici sonori, improvvise accelerazioni e gestualità espressive - o "Conduction" - astrattamente composta
di rumori, piccoli spostamenti, silenzi e suggestive rarefazioni. Ma ci sono anche richiami alla tradizione
balcanica e salentina, spesso riunite assieme - si ascoltino ad esempio "Victoria," che dopo la partenza
astratta decolla in un ballo d'ispirazione tradizionale, o la curiosa "Danza," in cui i ritmi balcanici si
riflettono in uno straniante contrappunto del pianoforte. E c'è anche, centrale non a caso, la sperimentazione
poetico-vocale dellatitle track, dove i tre recitano in forma canonica una poesia di Pasolini immersa nel
contrappunto contemporaneo.
Un disco vivo e imprevedibile, quindi, questoGestures and Zoom; forse non facile e non immediato, ma che merita ascolto attento - così come meritano molta attenzione i tre artisti che ne sono protagonisti.
Neri Pollastri http://italy.allaboutjazz.com/php/article.php?id=9194
TRANSLATION
A trio joined the Adriatic Sea that separates their lands, Albania and Puglia, but also by the attendance of
the latter by two Albanians, as well as a shared willingness to experiment, improvise, search for sounds and
situations of the forms of expression is not trivial or standardized.All this is the trio of Admir Shkurtaj,
pianist and accordionist full of ideas and courage (click hereto read the review ofMesimér, his recent record
for solo piano) that if next to compatriot cellist Redi Hasa and trumpeter George Brindisi Distant.
The work is difficult to label (and this is a great value), referring to himself and bringing in a variety of
styles and inspirations.There is certainly a lot of contemporary art, as evidenced by "Drawings" - full of
sound vortices, sudden accelerations and expressive gestures - or "Conduction" - abstractly composed of noise,
small movements, silence and the suggestive rarefaction.But there are also references to the traditions of the
Balkans and of Salento, often joined together - you hear such as "Victoria," and after departure abstract takes
off in a traditional dance-inspired, or the curious "Dancing," in which the rhythms of Balkan reflected in an
alienating counterpoint of the piano.And there is also, not surprisingly central, experimentation poetic voice
of thetitle track, where the three recite the canonical form in a poem by Pasolini immersed in the contemporary
counterpoint.
A drive alive and unpredictable, so, thisGestures and zoom, maybe not easy and not immediate, but it deserves
careful listening - so much attention as they deserve the three artists who are involved.
ADMIR SHKURTAJ/GIORGIO DISTANTE/REDI HASA -
Gestures and Zoom (Slam 535; UK) Admir Shkurtaj
- accordion, pianoforte & compositions, Giorgio
Distante - trombone and Redi Hasa - cello. The
starting points for Shkurtaj's music are not
themes or melodies but what he refers to as
"musical mechanisms" or extra- musical ideas;
frameworks to build themes on - musical series,
rhythmical series, series of sounds or sonic
gestures. The trio's improvisation guided or
"forced" by these frames unleashes surprising
freedom. Elements of traditional music, from the
Albanian tradition, burst here and there more in
a distant memory than a living reality.
"A pianoforte is an early version of the piano
invented around 1700. To me, it sounds a bit like
a harpsichord although Mr. Shkurtaj does play
inside at times. This is an incredible acoustic
trio. The combination of accordion (or
pianoforte), trombone and cello is certainly
unique and they don't quite sound like any other
trio that I've heard. Mr. Shkurtaj has written
some demanding, odd music for the trio. There is
a blend of ethnic, folk and classical influences
with lots of quirkiness thrown in. Shkurtaj plays
mostly accordion on many of these pieces and he
is indeed pretty amazing as are his two trusty
collaborators. Some of these pieces sound
conducted or directed improv-wise as if Shkurtaj
was signaling to the other to play a certain idea
as fast as possible and then abruptly changing
course. This is a great studio recording so that
the balance between all three instruments is
up-close and perfect. There is also a good amount
of extended techniques employed like the
trombonist playing into some water or the cellist
rubbing his strings with the bow in all sorts of
strange ways. If you like your improv intense,
focused and occasionally over-the-top with a good
dose of humorous bits as well, then my friend,
this disc is for you." - Bruce Lee Gallanter,
Downtown Music Gallery
Ancora un violoncello, nelle mani dell'albanese Redi Hasa, contrassegna
il primo dei molti cd in trio che passeremo in rassegna oggi, Gestures
and Zoom (Slam), a firma del pianista/fisarmonicista, sempre albanese,
Admir Shkurtaj, col dirimpettaio (leccese)Giorgio Distantealla tromba
(ma Hasa, da buon trait d'union fra i duecoéquipiers, è salentino d'adozione).
Disco notevole, avventuroso, vitale e originale, in cui proprio il cello,
rispetto a "Turbulent Flow", risulta l'elemento più discrepante: tanto quanto
l'impiego che ne faceva Levin era quasi contrabbassistico, Hasa tende invece
al violinistico, con un palpabile aplomb classicheggiante che si mischia alle
turbolenze (e ridagli!) del free.
Still a cello in the hands of the Albanian Redi Hasa, marks the first of many
so-called trio that we will review today, Gestures and zoom (Slam), signed by
the pianist / accordionist, always AlbanianAdmir Shkurtaj, with the next-door
neighbor (Lecce )Giorgio Distanttrumpet (but Hasa, a good blend of the two
coéquipiersis salentino of adoption).Brilliant record, adventurous, lively and
original, in which just the cello, with respect to "Turbulent Flow", is the
single most discrepant: as much as the use to which it was Levin was almost
double bass, Hasa tends to violin, with a palpable classical aplomb that mixes
the turbulent (and give him back!) of free.
ALBERTO BAZZURRO http://www.lisolachenoncera.it/rivista/rubriche/-3/
