Alec Goldfarb - Fire Lapping at the Creek (2024) [Hi-Res]
![Alec Goldfarb - Fire Lapping at the Creek (2024) [Hi-Res]](https://www.dibpic.com/uploads/posts/2024-04/1712900936_a2577150439_10.jpg)
BAND/ARTIST: Alec Goldfarb
- Title: Fire Lapping at the Creek
- Year Of Release: 2024
- Label: Infrequent Seams
- Genre: Jazz, Blues, Folk
- Quality: MP3 320 kbps; 16-bit/44.1kHz FLAC; 24-bit/96kHz FLAC
- Total Time: 47 min
- Total Size: 114; 240; 850 MB
- WebSite: Album Preview
The blues is full of the mystical and the hidden.
Bluesmen hid magical objects like rattlesnake rattlers in their guitars, which would augment the supernatural sounds of their strings with the sympathetic resonance of the snake. The devil appeared as a snake to Eve, and to Robert Johnson. In Fire Lapping at the Creek we hear these resonances from a distant time and place, from this deepest wellspring of American music making.
The music presents a puzzle. There are echoes from places one would not often associate with the Blues: the Shire Highlands of Malawi, Lutheran Convents in Saxony, and the coasts of the Arabian Sea. These strands intertwine with the blues, hymns blending into shouts and microtonal melismas that hang over broken ragtime. As each piece unfolds, an epiphany crystallizes from within the music: an “aha” moment that the Blues is connected to these settings, these echoes. Across the 10 tracks, the sextet breaks apart these strands at the heart of the blues and alchemizes them into something mystical.
The Blues itself possesses many secret things, and in these compositions Alec Goldfarb brings out this transcendent quality by making secretive the known- ghostly tunings spiderweb out from blue notes, irrational rhythms overtake loping shuffles. The improvisers in this all-star sextet contribute equally to this resynthesis of the Blues from its basic components, completing the magic trick that we have been transported somewhere alien, some distant shore, but somewhere familiar.
Fire Lapping at the Creek creates a dialogue with our history that shatters the conception of the Blues as simple music without historicity. As we listen, we are reunited with the font of American music making- a revolutionary, ecstatic, syncretic, folkloric tradition that synthesizes Arabic, African, European, and American ways of music making known as the Blues.
David Leon - Alto Saxophone
Xavier Del Castillo - Tenor Saxophone
Zekkereya El-Magharbel - Trombone
Alec Goldfarb - Guitar and Composition
Chris Tordini - Contrabass
Steven Crammer - Drumset
Tracklist:
1.01 - Alec Goldfarb - High Water All Round (8:15)
1.02 - Alec Goldfarb - And the Red Light was my Mind (3:33)
1.03 - Alec Goldfarb - Crow Jane (1:27)
1.04 - Alec Goldfarb - I Know my Name is Written in the Kingdom (2:45)
1.05 - Alec Goldfarb - Sound the Visage (6:05)
1.06 - Alec Goldfarb - Fire Lapping at the Creek (7:22)
1.07 - Alec Goldfarb - Al’ud (1:04)
1.08 - Alec Goldfarb - Seven Thunders Utter their Voices (4:10)
1.09 - Alec Goldfarb - You Gotta Take Sick and Die Some of These Days (4:51)
1.10 - Alec Goldfarb - Warm Hearts on the Lake of Fire (8:09)
Bluesmen hid magical objects like rattlesnake rattlers in their guitars, which would augment the supernatural sounds of their strings with the sympathetic resonance of the snake. The devil appeared as a snake to Eve, and to Robert Johnson. In Fire Lapping at the Creek we hear these resonances from a distant time and place, from this deepest wellspring of American music making.
The music presents a puzzle. There are echoes from places one would not often associate with the Blues: the Shire Highlands of Malawi, Lutheran Convents in Saxony, and the coasts of the Arabian Sea. These strands intertwine with the blues, hymns blending into shouts and microtonal melismas that hang over broken ragtime. As each piece unfolds, an epiphany crystallizes from within the music: an “aha” moment that the Blues is connected to these settings, these echoes. Across the 10 tracks, the sextet breaks apart these strands at the heart of the blues and alchemizes them into something mystical.
The Blues itself possesses many secret things, and in these compositions Alec Goldfarb brings out this transcendent quality by making secretive the known- ghostly tunings spiderweb out from blue notes, irrational rhythms overtake loping shuffles. The improvisers in this all-star sextet contribute equally to this resynthesis of the Blues from its basic components, completing the magic trick that we have been transported somewhere alien, some distant shore, but somewhere familiar.
Fire Lapping at the Creek creates a dialogue with our history that shatters the conception of the Blues as simple music without historicity. As we listen, we are reunited with the font of American music making- a revolutionary, ecstatic, syncretic, folkloric tradition that synthesizes Arabic, African, European, and American ways of music making known as the Blues.
David Leon - Alto Saxophone
Xavier Del Castillo - Tenor Saxophone
Zekkereya El-Magharbel - Trombone
Alec Goldfarb - Guitar and Composition
Chris Tordini - Contrabass
Steven Crammer - Drumset
Tracklist:
1.01 - Alec Goldfarb - High Water All Round (8:15)
1.02 - Alec Goldfarb - And the Red Light was my Mind (3:33)
1.03 - Alec Goldfarb - Crow Jane (1:27)
1.04 - Alec Goldfarb - I Know my Name is Written in the Kingdom (2:45)
1.05 - Alec Goldfarb - Sound the Visage (6:05)
1.06 - Alec Goldfarb - Fire Lapping at the Creek (7:22)
1.07 - Alec Goldfarb - Al’ud (1:04)
1.08 - Alec Goldfarb - Seven Thunders Utter their Voices (4:10)
1.09 - Alec Goldfarb - You Gotta Take Sick and Die Some of These Days (4:51)
1.10 - Alec Goldfarb - Warm Hearts on the Lake of Fire (8:09)
Year 2024 | Jazz | Blues | Folk | FLAC / APE | Mp3 | HD & Vinyl
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