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| 1. |
Excited
Strings: Yuval Mesner (cello) & JCJ (bass). March 2006 |
| 2. |
Avishai
Cohen (bass) & JCJ (bass). March 2005 |
| 3. |
Eyal
Maoz (guitar) & JCJ (bass). November 2007 |
| 4. |
Between
the Strings Trio: Daniel Hoffman (violin), Nori Jacoby (viola), JCJ
(bass). April 2006 |
| 5. |
Ned
Rothenberg (alto sax) & JCJ (bass). Live in Jerusalem, March 2004 |
| 6. |
Excited
Strings with Steve Horenstein (flute). To M. February 2007 |
| 7. |
Ariel
(piano) & JCJ (bass). A l'essentiel. October 2007 |
| 8. |
Rubin
Jones Gotesman Trio: Harold Rubin (clarinet), JCJ (bass), Arkady
Gotesman (drums). Live in Tel-Aviv, July 2007 |
| 9. |
Steve
Horenstein (sax & electronics) & JCJ (bass & electronics). 1997 |
| 10. |
Excited
Strings with Steve Horenstein (bass clarinet). February 2007 |
| 11. |
Between
the Strings Trio. Elegy. April 2006 |
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Total
time: 43:01 |
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J C Jones
ReComp
The material on this album is drawn from improvised sessions recorded over the
last few years.
Two pieces are edited excerpts. The other nine are rewritten, that is,
recomposed. In the process of rewriting the nine pieces, I took license
to freely reorganize and reassemble the original musical fragments to
reflect my personal artistic take on these sessions.
As opposed to mere editing, recomp involves the deconstruction, subtraction,
selection, rearrangement, and reconstruction of the material. It not
only changes the sequencing, but it radically affects the feeling and
flow of the music. It also changes the texture of the weave, the voice
of the team, and the original intention, revealing new connections, transitions,
and possibilities.
JC Jones, Kadima Collective Recordings, Jerusalem , February 2008
Some tracks were recorded at the Kadima studio and some live
at gigs, with
JC on acoustic and electro acoustic basses
Thanks to all my musicians / friends and Judy, Gabi, Olga,
Marina, Ori, Avi, Eyal
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All About Jazz
The JC Jones recording is something else altogether. Jones has gone back to music that he's recorded over the years and reorganized and reassembled the originals. "ReComp," says Jones, "involves the deconstruction, selection, rearrangement and reconstruction of the material. ...it radically affects the feeling and flow of the music." He works in different configurations and this audacious experiment in reordering gives a new play to the improvisations of his cohorts (mostly Israeli, but bassist Avishai Cohen and saxophonist Ned Rothenberg are more well known here). This is a very personal and subjective approach on the part of the artist and it completely and remarkably changes the sense of possibilities.
So Israel is most certainly a place where the notion of self-expression in new-sounding music is vigorously thriving.
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