Philippe Gelda - piano and organ
"Quiet Music" represents an evolution. In fact, a new group has been born. Having searched out Andrea Parkins (accordion & keyboards) and Jim Black (drums & percussion) in order to satisfy a "sound he heard in his head" saxophonist and composer Ellery Eskelin debuted the ensemble on March of 1994 in New York City and the group quickly become Eskelin's main working band described as "one of the finest units in progressive jazz" by Downbeat Magazine.
Over twelve years of obsessing over the composition/improvisation paradigm has resulted in more than fifty compositions by Eskelin that exploit the band's egalitarian approach to playing and each musician's ability to change musical roles fluidly and with great agility. In a effort to continually open new interactive pathways between the musicians and give each piece a unique form the group has produced a substantial body of music that has been described as "enjoyably organized madness which needs to be heard to be believed." (Signal to Noise magazine).
Eskelin has occasionally invited guest artists to participate in special projects including Erik Friedlander (cello) and Joe Daley (tuba) who appeared on "Ramifications" in 1999 as well as Marc Ribot (guitar), Melvin Gibbs (electric bass) and Jessica Constable (voice) who appear on "TEN" from 2004. British vocalist Constable, now residing in France, has become a frequent addition to the group on European tours since 2001. On this new recording Eskelin has also invited French keyboardist Philippe Gelda, a long time associate of Constable, to perform on four of the compositions.
Along with the additions in personnel Eskelin's musical concepts and desires have evolved as well. The original three piece unit reveled in imagining itself being anything from a string quartet to a rock band or even an orchestra. While losing none of that original spark this new ensemble has broadened the sonic palette considerably. Eskelin says "for some years I'd been wanting to go for a somewhat more bottom heavy sound, something warm, lush and low. We touched on that with some of the tracks on "TEN" and I think I want to go even further in that direction".
Picking up from the completely improvised music of "TEN", "Quiet Music" takes this sonic concept and applies some intriguing and unique compositional methods to the mix. Constable's extended vocal language (combined with electronic processing), Parkins' increasing use of electronics, Black's already full bodied drum sound and he addition of Philippe Gelda's organ on the double keyboard tracks push this music into a whole new sonic realm providing Eskelin with just the sound he'd been seeking.
Eskelin also feels that "Quiet Music" is a true group music, perhaps even more so than any of the past projects. "I'm sure there will be comparisons to the trio of myself, Andrea and Jim" Eskelin says. "And while we are at the core of the sound this is really a different group which deserves to be considered on it's own terms."
For the past ten years Eskelin has been recording for the legendary Swiss label hatHUT which itself has been in existence for thirty years having released many classics of jazz and new music. The group's recorded output consists of "Jazz Trash" (1995), "One Great Day..." (1996), "Kulak 29 & 30" (1997), "Five Other Pieces (+2)" (1998), "Ramifications" (1999), "The Secret Museum" (1999), "12 (+1) Imaginary Views" (2001), "Arcanum Moderne" (2002) and "Ten" (2004). The band tours regularly in the US, Canada and Europe having performed hundreds of concerts in all manner of venues from bars to concert halls from major cities to small towns. This work has resulted in critical acclaim from the international music press, a growing fanbase and an increasing influence on younger musicians.
In addition to the recorded output Eskelin has also released a tour diary DVD titled "On the Road with Ellery Eskelin w/Andrea Parkins & Jim Black" (with an appearance by Jessica Constable) containing music and behind the scenes footage described by citizenjazz.com (France) as "original and daring, full of charm" which further documents the creative process of a group that shows no signs of slowing down any time soon.
"From bright, punky melodies to diaphanous ruminations, the leader and his cohorts touch on practically every imaginable musical base to the point that Eskelin is loath to call his group a jazz band. Certainly, his own playing is steeped in the blues, retaining an affable warmth and lanky swing even at its most abstract. Limbs flying in all directions, Black plays with unorthodox techniques that have yet to be named, let alone described. Sentimental kitsch and disquieting rumble emanate in equal measure from Parkins's bellows. On piano, she girds the band with stately figures; a moment later, she may steer her colleagues into a hall of fun-house mirrors with her sampler, occasionally pitting Eskelin against his own horn in an impromptu duet. Together, the three have taken jazz to previously unexplored areas; their string of hatOLOGY releases is without question one of the signal oeuvres of '90s improv." (Steve Smith, Time Out New York).
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