![Migration of Silence into and Out of the Tone World [Volumes 1-10] cover](https://johnchacona.com/wp-content/uploads/2022/01/003-CENT1020_BoxCover-392x400.jpg)
Review: William Parker’s ‘Migration of Silence into and Out of the Tone World [Volumes 1-10]’ PostGenre
Tag: jazz
I get a lot of music for my consideration, already more than 80 new releases in 2022. Almost all of them are notable for something, and I’d like to give them their due. So, when I’m not previewing live events in Northeast Ohio (like now when there aren’t too many of those), I’ll offer hot takes on the week’s new releases.
For a certain subset of the jazz fandom multiverse, a simple personnel list would be sufficient to arouse intense interest in John Hébert’s “Sounds of Love” (Sunnyside Records).
In Japan the togishi is the skilled craftsman who polishes and sharpens the nihonto, the deadly sword used by samurai warriors to cut their enemies to pieces.
In Cleveland, Togishi is a trio of saxophonist Dan Wenninger, Mike Sopko on guitar and electronics, and Joe Tomino on drums and electronics whose improvised music cuts to pieces various genres including jazz, rock, contemporary classical and noise and reassembles them in a glorious freewheeling clatter.
Togishi will bring their usual sonic maelstrom to the Bop Stop stage Tuesday, December 21, but the trio will drop down the Hingetown club’s chimney with a surprise in their sack: tunes–and not just tunes, but some of the most recognizable, widely loved and, yes, even sentimental tunes.
Leave a CommentEDITOR’S NOTE: LET’S TRY THIS AGAIN. When my laptop was sent for emergency repairs last week, I lost access to my editorial calendar for this blog. For some reason, I assumed Samara Joy’s engagement at Bop Stop was December 10, and I rushed a post to preview the gig, never thinking that I could check Bop Stop’s site to confirm the date. The correct date, of course, is December 17, which gave me enough time to rewrite the preview to incorporate my conversation with Ms. Joy, and you can read it all below. Seriously folks, don’t miss this show. She’s extraordinary and you’ll be able to say you saw her when.
The walk to the stage at Cain Park for this year’s Tri-C JazzFest was longer than I expected, but I was still able to hear the opening act, albeit long before I could see the stage. The tricky changes of the verse of “Stardust” sailed out into the early autumn afternoon like a warm breeze, pitch-perfect and phrased with uncanny grace. Comparisons are invidious, but here was a singer with the vocal lushness of a young Sarah Vaughn and Ella Fitzgerald’s preternatural musicality, as delusional as that description might sound.
When Akron saxophonist and educator Chris Coles composed his “Nine Lives Project” as a response to the 2015 murders by a white supremacist of nine black parishioners at Emanuel AME Church in Charleston, S.C., anger was not on his mind. Even after the tumultuous events of 2020, “Nine Lives”chooses light over heat.
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