BLUEBLUE by SAM GENDEL
| SKU | 127455 |
| Artist | SAM GENDEL |
| Title | BLUEBLUE |
| Label | LEAVING RECORDS |
| Catalog # | LR 220 |
| Tag | |
| Release | W 09 - 2024 |
| Format | Vinyl - USLP |
| € 33,50 | incl. VAT, excl. shipping |
Tracks
- tate-jima zong gao vertical stripes
- tate-waku shu fei ku rising steam
- hishi-igeta ling jing hang parallel diamonds or crossed cords
- shippo qi bao seven treasures of the buddha
- toridasuki niao tasuki interlaced circles of two birds
- fundo fen tong counterweights
- koshi ge zi checks
- amime wang mu fishing nets
- uroko lin fish scales
- hishi-moyo ling mo yang diamonds
- kagome long mu woven bamboo
- nakamura koshi zhong cun ge zi plaid design of the nakamura family
- yarai shi lai bamboo fence
- yoko-jima heng gao horizontal stripes
Description
A concise, tightly wound song suite whose 14 tracks each correspond to a pattern within sashiko, a traditional style of Japanese embroidery.
This conceit remains playfully ambiguous — to what extent, if at all, is Kagome (??, woven bamboo) meant to evoke the pattern of the same name, for example? But there is an intuitive sense, throughout blueblue, that Gendel has, in this instance, narrowed his focus. To say that blueblue feels richly textural might be a little on-the-nose, thematically, but alas…it does. There is an intimacy, a humility, and a strength at play here that typifies the work of a master craftsman. Only an artist could make it sound so effortless. A Los Angeleno by way of Central CA, Gendel is by now an institution. Across a dizzying slate of solo releases and collaborations, he has amassed a reputation for not only virtuosic musicianship (primarily as a saxophonist, though the songs that would become blueblue were all initially composed on guitar), but also for his mercurial and prolific output — a corpus of work, which, while obviously indebted to jazz and hip hop (and the farther flung, experimental corners of both) is, in a word, unpindownable. In this regard, Leaving Records, with its cri-de-cœur of “All Genre,” is a natural home for Gendel. The bulk of blueblue was recorded in isolation in a makeshift studio built in a cabin floating atop a tributary of Oregon’s Columbia River. Having sketched out a set of guitar melodies, Gendel recorded the album in five-or-so weeks, during which time he became well-acquainted with the river’s tidal rise and fall. This organic rhythm, which daily lifted the house to meet the horizon, later setting it down gently upon the riverbed, permeates the record. There are pops and groans and artifacts, and, in Tate-jima (??, vertical stripes)—one of blueblue’s more plaintive tracks—even the faint lapping of water.
