Percussion makes oh-so nice with violin, electronics, piano, laptop...

2002 - Songbird Suite


Again, here we have one of my absolute favorite records of all time ever. Released in the very beginning of 2002, I remember ordering this cd for the record store I worked for because I saw Ikue Mori listed in the personnel while browsing the distributors new release catalog. Ikue Mori is one of very few laptop artists that I have an easy time getting down with, but that's a whole topic in and of itself. At the time I wasn't familiar with Susie Ibarra, Craig Taborn or Jennifer Choi.
This album is filled with all types of amazing, exotic percussion work from the insanely talented Susie Ibarra who has done lots and lots of amazing session work in New York, mostly for John Zorn's Tzadik label.
However, despite all of the extremely beautiful work she does here, it was Jennifer Choi who shocked my ears into absolute attention when I first put this disc in to listen.
I have played viola and violin since I was in third grade. When I was younger I played zealously. I wasn't a sports kid, or a cool rocker kid. I was hyper and I had asthma. I did ride a skateboard from the time I was little, but when you start skateboarding to school with a violin case in Spokane, the "cool" skater kids show their true colors.
"Faggot!!"

Nice.
After years of stuffing my head with theory and music history and hours and hours and hours and hours of playing I reached a point where I didn't want to hear classical music EVER AGAIN. I quit playing when I was 18 and didn't pick it up much again except to record some background-y stuff for various bands in Portland. Also, busking outside of Berbati's in downtown with my viola kept me fed for a few rough months in 98 or 99. I never totally abandoned it, but I wasn't too inspired anymore. It made me sad.
Jennifer Choi's performances on this album make me feel passionate about the viol again. Every time I listen. She creates atmospheres throughout these songs that are alternately playful and creepy, frantic and soothing, abrasive and lyrical. Her violin sounds mystic. Mythic. Otherworldly.
Sometimes I wonder if she is playing it at all, or whether it is compelling her to allow it to speak. I know it sounds weird and dramatic, and it is, but this is NOT a completely inaccesible record by any means. Don't be scared.
The album is beautiful.
This album is definitely in print and available from the Tzadik website directly. Stores can certainly special order it, but you're unlikely to just run across a copy in stock at the average record store.