The Squid's Ear Magazine


Futterman, Joel: Perspicacity <i>[Used Item]</i> (Soul City Sounds)

Five extended improvised piano solos from Joel Futterman recording in his home base of Virginia Beach, each an incredible journey in free playing that quotes and comments on the history of jazz piano, living up to the album's title through insight, perceptiveness, wit and intuition, Futterman's technique and mastery expressing narratives of amazing confidence and solid direction.
 

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Joel Futterman-piano


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UPC: 755491300756

Label: Soul City Sounds
Catalog ID: SCS-017
Squidco Product Code: 35415

Format: CD
Condition: VG
Released: 2024
Country: USA
Packaging: Cardboard Gatefold
Recorded in Virginia Beach, Virginia, in December, 2022, by Guy Fraser.

This is a USED (previously owned) item

Descriptions, Reviews, &c.
Previously played Squidco store copy, used for cataloging and samples, in excellent condition.

"Insight arises in an instant of audition, a plurality of sonic convergences in the juxtaposition of repose and motion. It couldn't be simpler, or more profound. A precipitous descent, a river in miniature bookended by granite slabs, gives way to a pause, concluding the inaugural gesture of the aptly titled Perspicacity, Joel Futterman's suite of solo piano inventions, a distillation in expansion and a universe in microcosm.

Futterman's artistry inhabits the interstices in and beyond time. The very next event tells the tale as components of that initial descent fragment and evolve, an inspiration interrogated and revised until a recurrence in magnification at 0:51, one of the many imbuing the five pieces with all of the luminosity in constantly shifting perspective familiar to those along on Futterman's musical journey. His yearly half-century of solo recordings find summation here, from the lush and expansive stride-soaked ballad of the second piece, through the tintinnabulating inside-the-instrument explorations opening the fifth and encompassing the untamed torrents only Futterman's cross-hand technique can achieve. Yet, remarkably, with the narrative precision comprising the prerogative of genius, each element becomes the other. Revel in the second piece's slow expansion beyond tone and time toward freedom in freneticism nevertheless calm at its center. Dig the points and lines, all contained in that opening gesture, as they return a-periodically in the second piece and, most poignantly, in the fourth. That initial declamation itself reappears to form the connections and resolutions cementing the third piece, a vast landscape also dotted by points and brief exclamations bespeaking creation in exaltation.

Beyond the phrases in dialogue and the concluding cadences never completely authenticated, there are moments, utterances of power to open the ear and stop the heart, the shimmering and overlapping drones 8:17 into the first piece or the volcanic infusion of oceanic stride out of which the drones evolve, like sun from storm or ice flow from rapids. This stretch of time captured in all of its attendant multiplicity is neither more nor less than pure creativity in its boldest manifestation, free flight frozen in magnetic concentration radiating, in sharp focus, so many days and years of preparation. Occurrence and recurrence catalyze the whole, pole and antipode in the fluid motion of perceptive conception, each pitch-speck and timbral cloud both universe and genesis. Questions answered and answers interrogated undulate in thunderous arcs, magical maelstroms and introspective eddies expand and contract time, tempo and timbre until the final piece, a distillation of distillations, a perspicacious moment in time as deeply creative as any in Futterman's venerable corpus. A concluding descent, a mirror within mirrors, completes the circle. Bells, blues, ballads and thunderous exhortations reduce to a shocking and only partial conclusion, bringing the suite to fruition; its end is its beginning."-Marc Medwin


Artist Biographies

"Joel Futterman, Piano and Indian Flute

Determined to push the limits of the piano to techniques never heard in jazz, Joel began a 25-year regimen of practicing 8-10 hours a day. During this period, he developed a three-hand technique based on completely autonomous playing between the hands. With more than 70 recordings, he is considered one of the most innovative yet enigmatic new music pianists.

Known for his spirited, highly imaginative, and innovative piano technique, Joel Futterman is an internationally recognized veteran pioneer into the frontiers of spontaneous, improvised music. He is considered one of the foremost inventive and adventurous artists shaping the creative, progressive music scene today. Futterman continuously pushes the limits of the piano as he explores new musical horizons. He has performed across North America and Europe including at such noted music festivals as the Tampere Jazz Festival in Finland, the Vision Festival in New York, the New Orleans Jazz & Heritage Festival, and the Guelph Festival in Canada. He has performed with such notable jazz innovators as Jimmy Lyons, Rahsaan Roland Kirk, Paul Murphy, Joseph Jarman, Richard Davis, William Parker, Alvin Fielder, and Hal Russell; as well as Edward 'Kidd' Jordan, with whom he has had a highly productive association. For many years, Futterman has also played the Indian Wooden Flute.

Joel Futterman was born in Chicago, IL. He grew up and lived in Chicago until 1972. Joel had piano lessons from about age 9-11, then continued playing on his own, eventually studying theory and harmony with Alan Swain. Joel met Clarence (Gene) Shaw when he was 18 and studied with Clarence for two years. Clarence was an important influence at the time. One night Clarence invited Joel to his home for a party. He introduced Joel to Charles Mingus. Joel recalls that Mingus gripped his hand firmly and stared up at the ceiling.

Joel attended University of Illinois in Chicago obtaining a (B.S.). Herman Finer, professor of political science, was a profound influence and encouraged Joel to pursue his creative endeavors.

While Joel was in college, his mother passed away and he isolated himself and began practicing 12 to 16 hours a day. Practicing was the only comfort for him at this time.

Joel attended Northeastern University in Chicago and worked on an MS in Education. He was nine hours short of receiving the degree when he decided to leave Chicago. Joel did receive an MS in Education with an endorsement in Reading at Old Dominion University in 1975.

In 1972, Joel moved to Virginia, where he resides today, in a personal quest to develop his creative voice. His first album, CAFETERIA, was released in 1980 to considerable acclaim due to its originality. Since then, his recordings have included a number of jazz legends, such as Jimmy Lyons, Richard Davis, Hal Russell, William Parker and others. In 1994, photographer Michael Wilderman introduced Joel to Edward 'Kidd' Jordan, and since then Joel has enjoyed many rewarding musical collaborations with Kidd and drummer Alvin Fielder. Also, Joel Futterman has had a deep association with artist Ike Levin, founder of the Charles Lester Label."

-Joel Futterman Website (www.joelfutterman.com/about.htm)
10/11/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



1. Part One 19:21

2. Part Two 8:45

3. Part Three 16:22

4. Part Four 13:37

5. Part Five 4:46

Related Categories of Interest:


Used CDs
Improvised Music
Jazz
Free Improvisation
Piano & Keyboards
Solo Artist Recordings
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Search for other titles on the label:
Soul City Sounds.


Recommended & Related Releases:
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