Russ Lossing, Mark Dresser & Matt Maneri | Metal Rat

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Jazz: Avant-Garde Jazz Avant Garde: Free Improvisation Moods: Type: Improvisational
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Metal Rat

by Russ Lossing, Mark Dresser & Matt Maneri

A focused session of collective free improvisation. Full of simmering intensity and dramatic flair, this is dark, intuitive chamber jazz at its finest.
Genre: Jazz: Avant-Garde Jazz
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  Song Share Time Download
clip
1. Coming To Meet
Russ Lossing, Matt Maneri & Mark Dresser
4:12 $1.19
clip
2. Ch'ien
Russ Lossing, Matt Maneri & Mark Dresser
14:17 $1.19
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3. Turn
Russ Lossing, Matt Maneri & Mark Dresser
3:53 $1.19
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4. Damp(Ness)
Russ Lossing, Matt Maneri & Mark Dresser
1:55 $1.19
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5. Is Thick With
Russ Lossing, Matt Maneri & Mark Dresser
5:55 $1.19
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6. Dry(ist)
Russ Lossing, Matt Maneri & Mark Dresser
3:38 $1.19
clip
7. Metal Rat
Russ Lossing, Matt Maneri & Mark Dresser
6:29 $1.19
clip
8. Hidden Lines
Russ Lossing, Matt Maneri & Mark Dresser
2:23 $1.19
clip
9. Fire Monkey
Russ Lossing, Matt Maneri & Mark Dresser
4:04 $1.19
clip
10. Their Blood is Black and Yellow
Russ Lossing, Matt Maneri & Mark Dresser
2:11 $1.19
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
ALL ABOUT JAZZ Feb 25, 2007
Metal Rat
Russ Lossing | Clean Feed Records (2006)
By Budd Kopman

Metal Rat is a triumph from beginning to end. Along with pianist/leader Russ Lossing, violist Mat Maneri and bassist Mark Dresser have created a work of terrifying intensity and concentration of purpose that is engaging at many levels, simultaneously manifesting a steely ferocity that is nevertheless almost unbearably beautiful.
The ten tracks have but two actual compositions (”Turn” and “Is Thick With”), which are easy to distinguish as such. The other tracks are a mix of trio improvisations (”Coming to Meet,” “Ch'ien,” “Metal Rat” and “Fire Monkey”) and different duo groupings. Lossing states in the notes that he wanted to create a sense of urgency, and the recording session was over in less than four hours.
Maneri and Dresser are both well-known in free jazz circles, and they respond to Lossing with a complete sense of control: everyone is in that “no mind” state of listening and playing without hesitation, existing totally in the moment. The success of Metal Rat lies in the sense of total immersion that the players exude. Each track explores a different emotional world and is generally short, as one might expect from free improvisations. The exceptions are the title track and “Ch'ien,” which are arguably the standout performances.
At over fourteen minutes, “Ch'ien” (reversed in position with “Turn”) is an excellent example of how adept improvisors who are truly free can produce an extended work that holds together, in both the free sections and the ones with a pulse. The feeling they produce is oceanic, carrying on momentum with waves that continuously move forward. The feeling of relentless logic in the music comes from the close playing of the trio.
Those who know Lossing's work will welcome this intense recording, while those who are new to either Lossing or free jazz can be assured that Metal Rat is a superb example of the genre.




All About Jazz review by Troy Collins
Wednesday, June 13th, 2007
Russ Lossing / Mat Maneri / Mark Dresser - Metal Rat (CF 064)

A focused session of collective free improvisation conceived by pianist Russ Lossing, Metal Rat features the spontaneous interplay of three sympathetic musicians. Joined by violist Mat Maneri and bassist Mark Dresser, Lossing booked a recording studio for a mere four hours to instill a “real sense of urgency” to the proceedings. The ensuing session benefits from this pre-imposed constraint by lending an air of palpable tension to the work. Full of simmering intensity and dramatic flair, this is dark, intuitive chamber jazz at its finest.
The album is composed of four trio excursions, four duets and two distinctive originals written by Lossing, the blistering “Turn” and the introspective “Is Thick With.” The majority of the pieces are brief sketches, from two to four minutes in duration, with “Ch’ien” the only exception. At fourteen minutes, it is the album’s tour-de-force, an epic suite of turbulent emotional transformation, circumnavigating jittery agitation, hopeful optimism and bittersweet resignation.
Throughout the record, Lossing reveals a shadowy, modernist sensibility; melancholy pointillism, spectral glisses, pulverizing clusters, and searing embers erupt from his keys. Maneri’s microtonal viola technique is singularly expressive, a hollow, crying tone that glides from mournful to caustic. Dresser’s resonant bass playing is typically magnificent; his sinewy arco work is especially plangent.
The trio stretches formal concepts of accompaniment, call-and-response and counterpoint with clairvoyant elasticity. No one player dominates as each responds in turn with confirmation or confrontation. Their intuitive declarations spur on new avenues for exploration. The session unfolds gradually with chamber-like restraint, punctuated by sudden interjections of taut dissonance.
Employing a monochromatic palette of deep chiaroscuro, the album alternates between unsettling agitation and somber melancholy. Metal Rat is a subtle, rewarding document of free improvisation from three acknowledged masters of the form.

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