{"id":2357,"date":"2015-08-03T11:24:15","date_gmt":"2015-08-03T11:24:15","guid":{"rendered":"http:\/\/carolrobinson.net\/?page_id=2357"},"modified":"2024-01-19T13:31:45","modified_gmt":"2024-01-19T13:31:45","slug":"robinson","status":"publish","type":"page","link":"http:\/\/carolrobinson.net\/fr\/recordings\/robinson\/","title":{"rendered":"Robinson – Billows"},"content":{"rendered":"

[vc_row][vc_column width=\u00a0\u00bb1\/2″][vc_single_image image=\u00a0\u00bb1398″ img_size=\u00a0\u00bbfull\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_column_text]<\/p>\n

Billows<\/strong><\/p>\n

CAROL ROBINSON<\/p>\n

Carol Robinson \u2013 birbyn\u0117 ou cor de basset et \u00e9lectronique<\/strong><\/p>\n

Carl Faia, r\u00e9alisation informatique musicale<\/p>\n

12 titres 45:54<\/p>\n

PLUSH 13 (2009)
\nwww.plush-internet.org<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][vc_row_inner][vc_column_inner][vc_column_text]<\/p>\n

La musique de Carol Robinson est plus qu\u2019une musique. C\u2019est une espace. Un horizon. Un lieu ouvert. Un son pass\u00e9, s\u2019\u00e9loigne. Il revient comme dans un r\u00eave caresser la surface de l\u2019air. Il se fait brise, douceur, qui insensiblement se m\u00eale \u00e0 une bourrasque venue des profondeurs, plus somber, qui enfle et emplit l\u2019espace\u2026 Sylvie Tanette<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Presse<\/strong><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Massimo Ricci<\/a>
\nBrain Dead Eterny<\/strong>
\n20 janvier 2010[\/vc_column_text][vc_column_text]Dan Warburton<\/a>
\nParis Transatlantic<\/strong>
\nF\u00e9vrier 2010[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Franck Mallet<\/a>
\nClassica<\/strong>
\nMars 2010[\/vc_column_text][vc_column_text]Vincent Faug\u00e8re<\/a>
\nCitizen Jazz<\/strong>
\n5 avril 2010[\/vc_column_text][\/vc_column][vc_column width=\u00a0\u00bb1\/3″][vc_column_text]Robert Carl<\/a>
\nFanfare<\/strong>
\nJuin\/juiller 2010[\/vc_column_text][vc_column_text]David Lewis<\/a>
\nAll Music Guide<\/strong>
\nMai 2010[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n

Carol Robinson\u2019s Billows<\/i> generates a seductively gentle ambience, apparently effortless but carefully constructed by means of a sustained rigour. It is warmly sensuous but deeply cool.<\/p>\n

\u00a9 Derek Horton, 2009<\/p>\n

C\u2019est peut-\u00eatre cela, cette mat\u00e9rialit\u00e9 de la musique, sa capacit\u00e9 \u00e0 prendre possession de nos sens, qui est le plus \u00e9mouvant dans les compositions de Carol Robinson.<\/p>\n

\u00a9 Sylvie Tanette, 2009<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Massimo Ricci\u00a0<\/strong>
\nBrain Dead Eternity
\n20 janvier 2010<\/p>\n

After having listened to combinations of frequencies that instantly make sense, connecting with a different order of priorities without apparently altering what was already working, the urge of telling about the experience to someone who can understand becomes stronger. Such is the case of Billows, the debut CD as a composer of clarinettist Carol Robinson, until now principally present in this reviewer\u2019s memory as a regular performer of Phill Niblock\u2019s scores. Let\u2019s be perfectly clear from the start: this album is an instant addition to the \u201cget-a-copy-soon\u201d list, in the hope that it is just the beginning of a path that looks pre-established, with a definite aim.<\/p>\n

Robinson is deeply linked with the conceptions of Giacinto Scelsi, who offered a veritable authentication of her thinking of music (\u201can opening toward something beyond our reality\u201d). However, among the influences declared by this Paris-based American artist, the winds of South Dakota – where she lived as a young girl – represent the most important. Indeed Billows resonates splendidly exactly for its correspondence to the \u201ccomposite minimalism\u201d of this natural phenomenon. Gently intertwining, caressing breezes on the skin while standing in contemplation under a warm sun, no urban or human presence, only the listener and the cosmos at large. This is what a sensitive subject will probably wish when inhaling this music, possibly alone, in full quietness. Entirely linear or slightly gliding, these overtone-fuelled whispers are thoroughly marvellous, an important message to the people who keep blathering around \u201cvibration\u201d, absolutely unaware of the word\u2019s actual implications.<\/p>\n

In technical terms \u2013 which almost equals swearing, given the purity of the resulting sounds \u2013 Robinson utilized exclusively clarinets (precisely, basset horn or birbyne) smoothly enhanced by a Max\/MSP live electronic system. The outcome\u2019s unpretentiousness teaches a lesson to those musicians who allow the computer to do everything, thus killing the potential spiritual traits of a work. Despite the absence of immediately recognizable clarinet pitches \u2013 except perhaps for the initial part of \u201cThe Lingering\u201d, where the instrument\u2019s real voice is clearly audible \u2013 the sonic occurrences are acknowledged as innate, akin to something we were raised to – and still necessary. One couldn\u2019t really match this up to the aforementioned Niblock, or Alvin Lucier, in spite of the typical adjacent-tone quivering produced by some of these pieces. Robinson\u2019s approach is not that manifest: it\u2019s less physical, seemingly informed by meditation and reminiscence and, in that logic, maybe closer to the essence of Eliane Radigue\u2019s concentrated transcendence. This, ultimately, renders the whole effective in an utterly new way. And this, too, is what we call an individual style, not the least because the tracks are very short in comparison to the lengthy distances privileged by the others. Also, that this woman has waited so long for deciding to release her own material is testimony to a rare wisdom.<\/p>\n

Either via speakers (recommended – and in \u201crepeat\u201d mode, of course) or headphones, the influence of Billows on my psychophysical organization has been incredible in barely three days of listening. The importance of this kind of event in a receptive person\u2019s life can\u2019t be stressed enough. Near silence, and even further. It is all extraordinarily beautiful, an inherent gratitude perceived as the heartbeat frequency decreases.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Franck Mallet\u00a0<\/strong>Classica <\/strong>
\nMars 2010 \u2605\u2605\u2605\u2605<\/strong><\/p>\n

 <\/p>\n

[\u2026]Partie de la musique improvis\u00e9e et du traitement \u00e9lectronique, elle fait mouche avec son nouvel album Billows<\/i>, o\u00f9 le souffle de l\u2019instrument, tamis\u00e9 et transform\u00e9, devient une onde fantasmagorique qui murmure autant qu\u2019elle emporte. Sobrement extraordinaire.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Dan Warburton\u00a0<\/strong>
\nParis Transatlantic Magazine
\nF\u00e9vrier 2010<\/p>\n

[\u2026] Robinson’s instruments \u2013 the birbyne, by the way, is a Lithuanian single or double reed instrument \u2013 are miked up and the signal routed into the computer, which adds voices of its own, whose pitches and intervals depend not only on those played live but also on the timbre of the instrument and the acoustic of the performance space itself. Such a bald description can hardly prepare you for the outstanding beauty and subtlety of the music contained in these twelve tracks (which Robinson recommends should be played in shuffle mode) \u2013 the accompanying booklet, with its references both to the South Dakota landscape Robinson grew up in and Milan Kundera’s Slowness, might give you more of an idea of what to expect (\u00ab\u00a0to relish, prolong and remember a moment, one moves and acts slowly\u00a0\u00bb), but you won’t want to read it while listening. Robinson’s technical mastery \u2013 documented on numerous discs: check out her Feldman and Scelsi on Mode, while we wait for Radigue’s Naldjorlak II and III \u2013 is evident throughout, but that doesn’t explain why the hairs stand up. Of course, you never know why the hairs stand up \u2013 but if they do you know you’re onto a winner. And this is one for sure: an essential release.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Vincent Faug\u00e8re\u00a0<\/strong>
\nCitizen Jazz
\n5 avril 2010<\/p>\n

[\u2026] Cet \u00e9l\u00e9giaque Billows est une ode \u00e0 la lenteur, une apologie de la variation subtile en douze courtes pi\u00e8ces. S\u2019il fallait donner une image, ce serait un ciel dont la lumi\u00e8re change imperceptiblement au cr\u00e9puscule, ou peut-\u00eatre une vague qui, inlassablement, caresse la gr\u00e8ve, reflue, revient mais n\u2019est jamais la m\u00eame.<\/p>\n

Pour cet enregistrement en solo, Carol Robinson a choisi d\u2019utiliser un cor de basset, anc\u00eatre de la clarinette basse dont Mozart fut en son temps le laudateur notoire. Elle y joue \u00e9galement de la birbyne, autre instrument oubli\u00e9 \u00e0 anche simple. De ces ancestrales clarinettes bard\u00e9es de capteurs, elle tire des souffles vaporeux, de longues notes r\u00e9p\u00e9t\u00e9es. Le traitement \u00e9lectronique, d\u2019un raffinement extr\u00eame, apporte une puissance d\u2019\u00e9vocation onirique, une douceur palpable. Les compositions proc\u00e8dent par superpositions et chevauchements, ondulations, cr\u00e9ations d\u2019harmoniques, modifications de timbres. Le temps y semble \u00e9tir\u00e9 jusqu\u2019\u00e0 l\u2019effacement de tout motif m\u00e9lodique et rythmique.<\/p>\n

Ce disque est l\u2019occasion de rendre hommage \u00e0 l\u2019ambitieuse et salutaire politique artistique du label parisien PLUSH qui, depuis le d\u00e9but des ann\u00e9es 2000, red\u00e9finit les fronti\u00e8res d\u2019un jazz suave, brillamment tremp\u00e9 d\u2019\u00e9lectronique.<\/p>\n

On laissera \u00e0 Carol Robinson le mot de la fin, emprunt\u00e9 aux notes de pochette : \u00ab La musique est une ouverture vers quelque chose au-del\u00e0 de notre r\u00e9alit\u00e9. Toucher aux fronti\u00e8res, atteindre ce que l\u2019on ne comprend pas exactement, ce que l\u2019on ne codifie pas clairement, tel est mon objectif avec la musique improvis\u00e9e \u00e9lectronique. \u00bb Elle touche magistralement au but.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>David Lewis\u00a0<\/strong>
\nAll Music Guide
\nMai 2010<\/p>\n

Electro-Acoustic music has come a long way since Iannis Xenakis first rolled Diamorphoses out of the ORTF studio in Paris back in 1957. What took Xenakis months of work to achieve can now be done — even surpassed — with digital gear to the extent that such music can be made live right now, while you’re sitting there. In her album Billows, clarinetist and composer Carol Robinson creates a continuous 45 minutes long vision of soft tones, slowly growing out of nowhere and returning to the void, sometimes combining in harmonious union and at other times pulsating in a kind of dreamy harmonic conflict. This disc is nothing if not atmospheric; it is almost like as if you could build an Aeolian Harp out of free reeds, and while you can tell that there is breath in the sounds that Robinson is generating you would never guess that a clarinet is used as the trigger. When Otto Luening began his interest in generating \u00ab\u00a0pure\u00a0\u00bb electronic sound in the 1950s he favored the flute as he reasoned that its tone is closest to a sine wave. By comparison, Robinson’s clarinet in Billows produces tone that seems purer than the breathier, sharper attack of the flute and by exploiting the mellow sound of the chalumeau register she is able to generate deep tones well out of the flute’s range. Billows would be a great disc to meditate to, or as a background to chill out in a general sense, moreover it’s a very fine example of minimalist electronics worthy of favorable comparison to Brian Eno’s \u00ab\u00a02\/2\u00a0\u00bb on the album Music for Airports.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=\u00a0\u00bbpurple\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/a>Robert Carl\u00a0<\/strong>
\nFanfare – Juin\/Juillet 2010<\/p>\n

[\u2026] This disc is quite unusual. It consists of 11 pieces performed by the composer (she\u2019s a leading exponent of new music for clarinet). Her own taste tends to draw her to music with qualities of deep concentration, sustained attention to the subtleties of sound\u2019s development over time, and a respect for aural sensuality. I\u2019ve heard these proclivities in her work as a performer in a recording she did of Morton Feldman clarinet works on Mode 119 (reviewed in Fanfare 27:1).<\/p>\n

As a composer, Robinson tends toward a similar aesthetic. She knew Giacinto Scelsi and collaborated with him, and a belief in the importance of \u201cmicro-inflection\u201d of sound seems to have emerged from the encounter. All the pieces on this program are superficially similar. Robinson tends to produce long tones that are then recorded in real time into a MaxMSP patch (a computer program that does live sound processing). The result is an ambience of transposed, quivering, slowly morphing tones. Over time, one begins to hear distinct differences of pitch, register, and process from one piece to another, but these still are subtle.<\/p>\n

The effect is soothing, hypnotic, and if one listens closely, one starts to move into a paradoxical blend of close attention and relaxed meditation. Some may ask where\u2019s the art in all this? Well, in collaboration with her programmer Carl Faia, Robinson shows she has a distinct vision of a sound-world she wants to explore, and into which she\u2019d like us to enter. I\u2019d also respond that her creating such pure long-held tones (needed as the foundation of these computer-generated environments) is a significant performative act. (To take one example from another tradition, if one studies the Japanese shakuhachi flute, long tones are regarded as the basis of the practice, even though \u201creal\u201d pieces are all over the map in their technique).<\/p>\n

The composer seems to be playing different types of clarinets, and the back cover also mentions basset horn and birbyn\u00e9 (a Lithuanian instrument). It\u2019s basically impossible to tell what\u2019s what from listening without further information, and it\u2019s probably not that important for savoring the final result. Many performer-composers tend to create music that is about other pieces they\u2019ve liked, or that creates an eclectic gamut of ingratiating musical fragments. Robinson is much more focused in her practice, and the result is satisfying, in that it accomplishes what she sets out to do. Worth some deep listening.<\/p>\n

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