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Rob Mazurek|Silver Spines

Silver Spines

Rob Mazurek

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Here is a record that has been promised/threatened for some time, a solo outing from cornetist Rob Mazurek. On first glance, even considering Mazurek's visionary compositions and contributions to melodic free improvisation in units such as Isotope 217 and the Chicago Underground Orchestra, Duo, and Trio, this project might seem slight. What is slight is the amount of overtly "arty" projection and pretension, not the music. Working closely with engineer Casey Rice, Mazurek offers 18 compositions of elaborately layered melody, edgeless dissonance, found and electronic sound, manipulated in the studio and reshaped into small but gorgeous small universes of texture, lyricism, impression, and ghostly presences. The opener, "Moving Through and Back Again," is startling from the first second as a sweet, muted melodic frame is stuttered and spindled to showcase the possibilities of other narrative melodicisms underneath. On "Bird Song, So Sang, To Them," an initial scalar set of varying arpeggios and phrased legato frames are gradually slowed and blown more dynamically, one line picking up to move forward from the middle of the last one's knotted thematic and drawn out tonally to stretch across the entire sonic body of the improvisation. Elsewhere, on "Metal Monsters Don't Fail Me Now," Mazurek's cornet feels and sounds more like Buckethead's guitar, it is so processed through microphones and effects, and his playing is right through the middle, repetitive and insistent to the point of abrasiveness, but it never, ever lacks soul. The album closes with "Love, For (Slight Burnt in Beginning)," a collage of affected phrases where the middle note ends up as the tonal base for what comes next, whether that sound come from underwater, phrased like a scratched record, or in tandem bursts from the bell of the horn. In all, it's as experimental a record as there is, but it is hardly inaccessible. In fact, in most places, it is not only quite lovely to listen to, but full of humor as well. This is what makes Delmark such a great label, their willingness to put something out just for its excellence no matter what it is. And make no mistake: Silver Spines is nothing short of excellent.

© Thom Jurek /TiVo

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Silver Spines

Rob Mazurek

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1
Moving Through And Back Again
00:06:51

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

2
Cloth And Bells Cut 3:16-3:44
00:03:23

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

3
Breathe And Silver Spines Contained
00:03:41

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

4
Birds Song & So Sang To Them
00:04:10

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

5
Patterns And Fixations Along The Path Of Seeing Red
00:04:49

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

6
Feel Ard...Ardeel...Feeling Hard...Falling Harder
00:06:21

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

7
Haphazard Half Hazardous...Frequencies Push Through Another And Another
00:03:24

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

8
For, Love
00:02:47

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

9
Through The Window There Was A Green And Blue Dress
00:03:46

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

10
Metal Monsters Never Fail Me Now
00:03:23

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

11
Composition 56 In The 4th Place And Still Looking
00:03:43

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

12
Them Sang So_Song Birds
00:02:20

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

13
Remember The Time It Spun out And Fell Into Itself. It Never Stopped Rising...
00:05:25

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

14
Quietly Sleeping
00:01:23

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

15
How Time Turns In On Itself
00:09:05

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

16
Underwater And Trying To Find The Stars
00:02:20

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

17
Still Looking But Not Breathing
00:00:47

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

18
Love, For
00:01:01

Rob Mazurek, MainArtist

(C) 2002 Delmark Records (P) 2002 Delmark Records

Album review

Here is a record that has been promised/threatened for some time, a solo outing from cornetist Rob Mazurek. On first glance, even considering Mazurek's visionary compositions and contributions to melodic free improvisation in units such as Isotope 217 and the Chicago Underground Orchestra, Duo, and Trio, this project might seem slight. What is slight is the amount of overtly "arty" projection and pretension, not the music. Working closely with engineer Casey Rice, Mazurek offers 18 compositions of elaborately layered melody, edgeless dissonance, found and electronic sound, manipulated in the studio and reshaped into small but gorgeous small universes of texture, lyricism, impression, and ghostly presences. The opener, "Moving Through and Back Again," is startling from the first second as a sweet, muted melodic frame is stuttered and spindled to showcase the possibilities of other narrative melodicisms underneath. On "Bird Song, So Sang, To Them," an initial scalar set of varying arpeggios and phrased legato frames are gradually slowed and blown more dynamically, one line picking up to move forward from the middle of the last one's knotted thematic and drawn out tonally to stretch across the entire sonic body of the improvisation. Elsewhere, on "Metal Monsters Don't Fail Me Now," Mazurek's cornet feels and sounds more like Buckethead's guitar, it is so processed through microphones and effects, and his playing is right through the middle, repetitive and insistent to the point of abrasiveness, but it never, ever lacks soul. The album closes with "Love, For (Slight Burnt in Beginning)," a collage of affected phrases where the middle note ends up as the tonal base for what comes next, whether that sound come from underwater, phrased like a scratched record, or in tandem bursts from the bell of the horn. In all, it's as experimental a record as there is, but it is hardly inaccessible. In fact, in most places, it is not only quite lovely to listen to, but full of humor as well. This is what makes Delmark such a great label, their willingness to put something out just for its excellence no matter what it is. And make no mistake: Silver Spines is nothing short of excellent.

© Thom Jurek /TiVo

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