Volume One

by Sketches

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about

released November 5th, 2013 on BaldHill Recors

Matt Holman, trumpet/compositions
Jeremy Udden, saxophone/compositions
Jarrett Cherner, piano/compositions
Martin Nevin, bass/compositions
Ziv Ravitz, drums/compositions

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Selected Reviews for Volume One:

"These songs may have all started life as unfinished bits and pieces, but they've grown into wondrous creations under the watchful eyes of these men. Hopefully a Volume Two will follow.”
–Dan Bilawsky, ALL ABOUT JAZZ

"The results are poised, balanced, intimate conversations.”
–Jon Garelick, BOSTON GLOBE“...impressive post bop material, with rich and intelligent arrangements and a clever mix of melody and improvisation….You’ll like these guys!”
–George W. Harris, JAZZ WEEKLY

“...an album that touches on many aspects of the jazz vernacular, yet it's a comprehensive agenda that is impressively concocted with the ensemble's hallmark sound and unassuming complexities.”
–Glenn Astartia, ALL ABOUT JAZZ

"...But more important than their long lists of credits is that these five musicians all have compatible styles and listen closely to each other, two qualities that give Sketches its own group sound… With consistently fine solos (pianist Cherner is particularly inventive) and worthy themes, Volume One is an excellent start for Sketches.”
–Scott Yanow, JAZZ INSIDE MAGAZINE

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Volume One is Sketches' first release, the result of working on their unique collaborative compositional concept for over a year – writing, rehearsing, and performing in New York's Small's Jazz Club and Douglass Street Music Collective – until a cohesive set of material was ready to record.

In some cases the original sketch represented an inspirational block for one composer yet became the creative stimulus for the second composer. Pianist Jarrett Cherner, for example, was attracted to the Middle-Eastern sound evoked in one of Ziv Ravitz’s sketches and used it as the introduction to Running With The Princess. Cherner develops the initial mood with major & minor tonalities, varying time signatures, and interweaving horn melodies, while adding his own sensibility and narrative element (listen for the Princess’ footsteps in the piano and bass).

In other cases the sketch material was completely reworked. Martin Nevin's Dusk on the Porch, based on another sketch by Ravitz, began as a short free piece. Seeking to color the original idea by using it within a more traditional structure and harmonic map, Nevin reconfigured the sketch into a blues form, though the original musical material did not imply a blues form at all.

Trumpeter Matt Holman finds the process of collaboration to be exciting and challenging because he loves "the opportunity to start a piece, not from my own compositional head, but from someone else’s original idea. Starting with musical material that is foreign to me prevents me from using my own compositional clichés and allows the essence of two different composers to eventually shine through in one piece.” Holman’s Cornerstone is based on a sketch by saxophonist Jeremy Udden and explores motivic gestures, bringing lush harmonies to what was originally a simple Rock-like chord progression. The piece also serves as a catalyst for brilliant improvisations by Holman and Cherner.

To take the idea even further, Sketches developed a new approach to the creative collective process that they call Complete Compositional Collaboration (CCC), as evidenced on the piece Chain Letter. On a rotating schedule members individually compose and edit parts of the same composition over several weeks, adding a short new idea for each round. What developed in Chain Letter is a short work of creative counterpoint that has the spark and personality of all five band member’s compositional voices.

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recorded by Michael Perez-Cisneros
at Peter Karl Studios, Brooklyn, NY, Sept 2012
mixed & mastered by Ziv Ravitz
cover artwork by Risa Glickman
band photo by Alejandra Barragán
album design by Jarrett 

Cherner

www.sketchesmusic.com
@sketchesmusic

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released November 5, 2013

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