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"Nature Morte" is the title of a poem written in 1971 by Joseph
Brodsky. He and pianist Simon Nabatov were both born in Russia and
later resettled in America. Nabatov took the ten-part poem, a rich
conjuration of life and death, and wrote what can only be described
as an ambitious song cycle, even though the fact that Phil Minton
sings it means one must stretch his usual definition of the word
"song." Trombonist Nils Wogram and saxophonist Frank Gratkowski
(also heard on clarinet, bass clarinet, and flute) complete this
impressive quartet. Nature Morte is a work of symbiosis, first
between Brodsky's words and Nabatov's music, then between the music
and the very talented musicians, the words and Minton's
interpretation of them (both intellectual and physical), Minton's
interpretation and Nabatov's. One immediately thinks of the
singer's Mouthful of Ecstasy, another quartet which rooted in
literature (this piece used excerpts from James Joyce's works). But
the two pieces stand very much apart: Nature Morte is less
improvised, abstract, and arid, a lot more soulful, gentle, and
organized. Minton's voice goes from warm ("Part 8") to guttural
(his solo at the beginning of "Part 9"). Nabatov's piano provides
the backbone of the music, with his complex chords and rhythm
patterns framing the songs, while Gratkowski and Wogram dialogue
with each other and develop the harmonic contents. A peak is
reached in "Part 4," where an insisting motif clashes against
Minton's idiosyncratic vocal improvisations. This Nature Morte is a
thing of beauty, revealing itself a little more at every listen.
Very strongly recommended. ~ Fran‡ois Couture
To say that Simon Nabatov's music is adventurous would be an
understatement. His music, which mixes together written-out
sections with free improvising, is eccentric and sometimes
demented, particularly when Phil Minton is singing. Nabatov sought
to pay tribute to Russian poets and writers, but one wonders what
they would think of these very abstract interpretations. While most
of the instruments utilized are conventional, Cor Fuhler's
electronics frequently give the instrumental sections an
otherworldly atmosphere. The overall results are intriguing and
often absolutely crazy. ~ Scott Yanow
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