The Robert Pollard / Free Jazz Intersection
I can’t claim to be an elite-level Robert Pollard obsessive, but I enjoy his music quite a lot. I was drawn into the circle when a friend introduced me to Guided by Voices sometime around 2000. There are some close communities of GbV fans out there, and I was lucky enough to be welcomed into one. Several years of really fun concerts and surprising, warm friendships ensued.
GbV is best known as an indie-rock band, but Pollard has a taste for weird, noisy music. Producer Todd Tobias has added plenty of noisy shimmer to GbV and Pollard solo albums. The weirdest stuff seemed to be saved for Circus Devils, a collaboration between Pollard, Tobias, and Tobias’ brother Tim (who played bass for GbV for a short spell). There’s some seriously crazy stuff on those records.
Her reasoning isn’t necessarily tied to noise music; instead, she cites Pollard’s volume of work, with I think averages about an album per month. I’m just happy to see Pollard mentioned in a jazz interview. These worlds intersect, they really do.
Gentile’s list also includes Tim Berne‘s Paris Concert trilogy (the albums that got me into creative music in the first place) and two albums close to the Berne orbit: the debut from Jim Black‘s Alas No Axis (which, for me, has its own backstory), and Marc Ducret‘s recent Tower Two.
I’d never encountered Gentile before. Turns out, her music has a Berne-like tilt to it — or at least it does in this track that she’s posted to Soundcloud:
That’s Jeremy Viner on sax, channeling a bit of Berne during the theme before going off into his own mode for the solo. On piano is Matt Mitchell, who of course is in Berne’s Snakeoil band. Adam Hopkins on bass and Gentile on drums round out the sound.
h/t: Avant Music News.
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