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Out where the trains don't run
Tanya Kalmanovitch Hut Five
Violist Kalmanovitch leads her crack quartet in a series of miniature improvisations sampling a broad range of influences (think Freddie Greene, Bartok, Hendrix, Coltrane, calypso and Charles Ives, for a start.) Darkly comic, fiery, wry and sublime.
Collection Contents
| # | Title | Length | ||
|---|---|---|---|---|
| 1 |
|
Rick's Got Something | 4:31 | Play |
| 2 |
|
Soft T | 4:44 | Play |
| 3 |
|
Promosexual | 1:29 | Play |
| 4 |
|
You never know | 3:24 | Play |
| 5 |
|
Hutmobile | 4:11 | Play |
| 6 |
|
Death to False Metal | 3:45 | Play |
| 7 |
|
Hairletters and Hipswingers | 3:34 | Play |
| 8 |
|
Whimprov | 3:47 | Play |
| 9 |
|
Billet-Doux | 5:37 | Play |
| 10 |
|
Plucky Bits of Jelly | 3:33 | Play |
| 11 |
|
You could be loved in Canada | 2:56 | Play |
| 12 |
|
Power City | 3:56 | Play |
| 13 |
|
Straight into the Delete Bin | 3:47 | Play |
| 14 |
|
Seventeen Years of Silence | 4:41 | Play |
| 15 |
|
Wallop Wallop | 4:04 | Play |
| 16 |
|
Out where the trains don't run | 5:04 | Play |
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Description
Out where the trains don't run
Liner notes by Tanya Kalmanovitch
Interspersed among the compositions on my 2003 quartet recording Hut Five were a series of short collective improvisations that we called "vignettes". These instant compositions were a highlight of the recording session and the resulting album. The concentration and exhilaration at the moment of creation was compelling; the results surprising and sometimes sublime. I became intrigued by the idea of recording an entire album of these miniatures.
In June and July 2003, Hut Five toured the Canadian jazz festivals in support of our first album. In a cultural and economic climate when a tour takes place over two nights more often than two weeks, it was a luxury and a joy to be able to perform together night after night. The single session that became this album was recorded on a free day at the midpoint of this tour, and documents an especially rich and happy period of creative development.
The music on this recording was undeniably fun to make. Each of us took turns at starting a take, but every ending was arrived at in spontaneous accord. We drew freely from diverse musical vocabularies, and the results celebrate melody, harmony and time as much as they depart from them. While most takes were entirely unstructured, in some cases we chose to follow a single word of direction - 'calypso' or 'country' or 'plucky', to name a few whose outcomes are included here.
This album takes its title from one of Rick Peckham's typically laconic post-take quips. It reflects both the non-mainstream nature of the music and something of the humour of the musicians who made it. Thank you to Rick, Ronan and Owen for their unhesitating and unabashed creativity and for always being as much fun to play with as to listen to.
Tanya Kalmanovitch
May 4, 2004
Tanya Kalmanovitch thanks the Alberta Foundation for the Arts for support in the marketing and promotion of this recording; the Canada Council for the Arts for its support of the tour that made possible this recording; and Michael Durney, for his support, full stop.
Credits
Tanya Kalmanovitch viola, violin
Rick Peckham guitar
Ronan Guilfoyle acoustic bass guitar
Owen Howard drums
Produced by Tanya Kalmanovitch
Recorded June 27 2003 at Lydian Sound in Richmond Hill, Ontario
Engineer Jason Steidman
Assistant Engineer Shawn Steinhart
Mixed by Jason Steidman
Mastered by Richard Harrow
Design Hatch 21
Photography Nadia Molinari