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Trombonist Samuel Blaser leads a brilliant international group
— Jazzwise Kevin, LeGendre

THE SAMUEL BLASER QUARTET:
"EARLY IN THE MORNING"

 

Ten New Tracks for Release in Fall 2018

Featuring: Samuel Blaser (trombone), Russ Lossing (piano & keys), Masa Kamaguchi (upright bass)
Gerry Hemingway (drums) with Oliver Lake (alto saxophone) & Wallace Roney (trumpet)

01. Early in the Morning (feat. Oliver Lake) 02. Tom Sherman's Barroom 03. Murder's Home 04. Creepy Crawler Blues 05. The Carpenter (feat. Wallace Roney) 06. Klaxon 07. Levee Camp Moan Blues (feat. Wallace Roney & Oliver Lake) 08. Mal's Blues 09. Lonesome Road Blues 10. Black Betty
Total running time: 48:00 minutes

Produced by Robert Sadin

The top experimental-jazz musician
— Aamulehti

The universal blues of Samuel Blaser

This musician's image and history are solidly anchored in the swamps at the heart of the Mississippi Delta. For an artist as talented as Samuel Blaser, the blues has turned out to be a truly inexhaustible source of inspiration. Moved by the depth of expression found in this deeply-rooted art form, the young trombonist pulls together the essence of the current and former jazz scenes adding a contemporary touch which breathes new life into the musical tradition. The idea is not new and has been around for over a century: who can forget the stylistic changes from boogie woogie to free jazz of the pianist Jaki Byard who played with Charles Mingus in the 1960s? There is also a trace of the strange musical dialogue between pianists Mary Lou Williams and Cecil Taylor in 1977. It is easier to understand Samuel Blaser's mindset, if one can recall some of the courageous mavericks (including Jimmy Giuffre) who worked to produce a short-lived Third Stream somewhere between jazz and contemporary music.

Samuel Blaser takes his time slow cooking the ingredients of his music. And he knows how to vary the recipe and play around with cooking times.  Here he employs a subtle harmony to bring out the theme of Levee Camp Moan Blues. Elsewhere, in Black Betty, he easily transposes Leadbelly's  singing and guitar into the voice of his trombone and rhythm of Gerry Hemingway's drums. In Tom Sherman's Barroom, he borrows György Ligeti's form of accompaniment which alternates thirds and sixths to produce a sound which is as sober as it is effective. By playing the trombone softly in Murder's Home, Blaser creates an atmosphere of rare darkness sustained by a range of harmonious tones reminiscent of György Kurtag's symphonic masterpiece, Stele. In Klaxon, based on a poem by Blaise Cendrars, he calls to mind a form of writing used by the same Kurtag for one of his Kafka Fragments.  He frees up the melody in The Carpenter to strengthen the flow of the dialogue without losing any of its force. It's not long before Samuel Blaser strikes a disturbing note by asking Russ Lossing to 'dirty-up', his keyboard playing (Creepy Crawler Blues). And it's not long before his collaborators are asked to recreate the spirit of the African-American community by interpreting freely and collectively the theme of Early in the Morning.  And again in Creepy Crawly Blues, he knowingly throws a spanner in the works, by imagining an 11/8 tempo for Lossing's keyboard and Masa Kamaguchi's double bass. Here in the aptly named Mal's Blues, he rediscovers the lyrical vein of Mal Waldron and Steve Lacy. And finally in Lonesome Road Blues, he confuses the issue by building a deceptively unstable structure with the melody resting on the off beat.

In his time, Béla Bartok, used his own collection of oral traditions to compose a much more personal body of work. Samuel Blaser today aims to celebrate the broad appeal of the blues, this popular form of music by bringing in, in situ, the ethnomusicologist Alan Lomax whose recordings are used by the trombonist.  It's no accident that Blaser draws inspiration from some of the well-known independent composers of the 20th century, such as Ligeti and Kurtag, whose own works are directly descendent from the Bartok tradition.

Arnaud Merlin (France Musique)

A brilliant trombonist
— Salt Peanuts, Jan Granlie
 

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The Samuel Blaser Quartet Images


Contact / Booking / Management


ARTIST DIRECT CONTACT
Samuel Blaser
Tel: +49 176 708 617 31
contact@samuelblaser.com
www.samuelblaser.com

WORLD-WIDE MANAGEMENT
Taklit Artist & Concert Management
Patricia Johnston / Manager
93, rue Jean Jaurès I 92800 Puteaux, France
Tel: +33 + 33 (0)1 45 49 11 42
Tel: +33 (0)6 42 73 06 70
patricia@taklit.net I www.taklit.net

BOOKING FRANCOPHONIE
Wanbliprod / Simon Barreau
20, La Hallopière I 44690 Monnières, France
Tel: +33 632372121
simon@wanbliprod.com | www.wanbliprod.com

BOOKING EUROPE
Saudades Tourneen / Jakob Flarer
Rotholz 369a Schwaz, Austria
Tel: +43 524461151
jakob@saudades.at


 

BOOKING SPAIN
Arcos y Flecha / Sergio Merino
Tel: + 34 93 250 02 47
s.merino@arcoyflecha.es
www.arcoyflecha.es

BOOKING ITALY
Luca Civelli
ilmetodo@outlook.fr
Tel: +33 6 84 35 11 99

BOOKING SOUTH AMERICA
Harmonipan / Mr. Paco Barba
Tel: +1 (312) 957 7088 I +52 1 (55) 3898 8626
paco@harmonipan.com | www.harmonipan.com

PRESS AGENT FRANCE
France: Valérie Mauge
Tel: +06 15 09 18 48
mauge.valerie@gmail.com

GERMANY / SWITZERLAND / AUSTRIA:
Uli Kirchhofer
An der Pulvermühle 29 I 51105 Köln, Germany
Tel: +49 221 801 8964
u.k.promotion@t-online.de I www.uk-musikpromotion.de