The Stowe-Pembleton Project

spp

The Stowe-Pembleton Project CDs Hommage An Klaus Kinski and Confusion Bleue are out. This is improv jazz with heavy doses of post-fusion (Nobu Stowe) and sampled chaos (Lee). They're available from Soul Note/Black Saint as compact disc and as MP3 downloads. Hoorah! You can also buy them online from Amazon, Emusic, iTunes and other fine stores.

The third record was recorded in late January 2008, and is currently being mixed. The working title, and the guiding spirit for the mix is The Dream-Quest of Unknown Kadath, a novella by H. P. Lovecraft. The album really feels like soundscapes of places to me. As I've mixed it recently, it has taken on the sounds of the different landscapes encountered in The Dream-quest. So, I have mixed it very specifically to conjure up sounds of the places described by Lovecraft. It was recorded for a Japanese label, but I've been so slogged mixing it that Gods alone know who will end up releasing it. Because it's probably too out for Soul Note, it won't officially appear as a SPP record. The band name it will likely be released under is Ovarian Dystopia Quintet.

The fourth record was recorded in late January 2009, and is also being mixed. Achille Succi , the saxophonist who joined us, suggested calling the album Jelly Fish Tree, so that's the working title. The current thought is that the album could be out in 2011.

Cuts from Hommage and Confusion can be found at the group's MySpace page.

 

nobu

Stowe-Pembleton Project on Hommage an Klaus Kinski is:

NOBU STOWE - Piano
Nobu Stowe was born in Maebashi, Gumma, Japan. He started taking piano lessons at age 3 and composition at age 6. He moved to the US to study Music (composition) and Psychology at the University of California, at Berkeley. During this period, after discovering the music of Keith Jarrett, he started to play/compose more improvisation-oriented music. Then, he moved to Chicago to pursue graduate studies at the University of Chicago.
After receiving a Ph.D. in Psychology, he moved to Baltimore to work as a drug researcher for the NIH. Since this relocation, Nobu has lead the post-fusion unit TRIO RICOCHET and, in less than a year since the trio's public debut, has already appeared at some of the top jazz-oriented venues in the East Coast including Blue Note N.Y. (NYC), The 55 Bar (NYC), The Knitting Factory (NYC), Kavehaz (NYC), Bohemian Caverns (DC), Twins Jazz (DC) and An die Musik (Baltimore).
Besides TRIO RICOCHET, Nobu leads and co-leads various projects exploring and blending 'total-improvisation' (a la Jarrett) and 'free-improvisation'. These include solo works and duos with Lee Pembleton, Alan Munshower, Vytis Nivinskas, and Honyo Ohte.
Nobu has recently started a group with Perry Robinson in collaboration with the renowned Italian composer-percussionist Andrea Centazzo and the Pakistani tabla master Badal Roy. His fist recordings will soon be available from Konnex Records (Germany), Soul Note (Italy) and ICTUS Records (USA/Italy).

LEE PEMBLETON - Sound
Lee doesn't go in much for writing bios. But feel free to poke around here in The Museum of Viral Memory.

featuring:

PERRY ROBINSON - Clarinet, Micro-Ocarina
Perry Robinson is truly a musical icon, with a performing and recording career spanning over 40 years, across all manner of genres, styles, and categories.
Born in 1938 in New York City, he grew up in a musical family. His father Earl Robinson was a protégé of Aaron Copland and a well-known composer. Throughout his career Perry has traveled far and wide to play with the most important musicians of his time, and in the process has become a living legend of the jazz clarinet.
The list of artists with whom he has been associated is immense in quantity, quality and stylistic diversity. His discography reveals works with, among others, Dave Brubeck, Charlie Haden, Henry Grimes, Paul Bley, Carla Bley, Gunter Hampel, Archie Shepp and Bill Dixon.
Today Perry's journeys continue, taking him farther than ever before, keeping him supremely busy, and pushing him to discover and rediscover new worlds of sound. This life long musical journey is well documented in the critically acclaimed autobiography "Perry Robinson: The Traveler" which was recently published by Writers Club Press.

BLAISE SIWULA - Reeds
Saxophonist Blaise Siwula has been active in the NY improv/jazz scene since 1989. A musician who straddles the free music/jazz genre he has worked with numerous artists such as Cecil Taylor, Tan Dun, Peter Kowald, Dom Minasi, Katsuyuki Itakura, Toshi Makihara, Adam Lane, Borah Bergman, Sonny Simmons, Luther Thomas and William Parker. He has cds on CIMP and Cadence Jazz Records - Blaise Siwula Trio, Expositions of Freedom Now!, Tandem Rivers, The Slam Trio, Big Hearts and a variety of independent releases.
His current projects include Siwula, Stowe & Sage Trio, Mambo Mantis, The Slam Trio (Siwula/Adam Lane/Toshi Makihara), BCJ Trio (Siwula/Chris Welcome/ John McLellan). Since 1998, he has been hosting C.O.M.A., a weekly creative music series, at ABC No Rio in the Lower East Side of NYC. Blaise' personal website is home.earthlink.net/~bbrjsiwula/.

JOHN McLELLAN - Drums
John McLellan is a subtle-yet-adventurous drummer who has been increasing in demand in the advanced jazz community of the NYC area. John has performed with Ben Monder, Joe McPhee, Roswell Rudd, Jack Wright, Daniel Carter, Roy Campbell, Herb Pomeroy, Michael Formanack, Mark Helelias, William Parker, Craig Taborn, Jamie Saft and Denman Marony and has performed at the Newport Jazz Festival, CMJ Jazz Festival (NY), San Juan Island Jazz Festival, Boston Globe Jazz Festival.
John is currently active with Bern Nix Trio and Mat Maneri's group featuring Joe Maneri. He is also an active teacher of drums and improvisation in general.

ROSS BONADONNA - Alto Sax, Bass Clarinet, Guitar
Ross Bonadonna was born in Brooklyn NY, he started playing guitar at the age of seven, and studied privately with various teachers almost continuously until the age of 32, while playing in numerous band and doing commercial music for a living, at that time he opened Wombat Recording Co. where he has engineered and produced many projects. He currently plays with Eric Mingus, Ethan Winogrand, Paula Carino, and quite a few other bands and projects in the studio and on the road.

And here are links to some reviews:

Toma Jazz (translated by Babelfish below. You gotta love Babelfish. Lee's a sonorous linen cloth designer!)

Jazz Review

All About Jazz

All About Jazz

All About Jazz New York Magazine (go to page 18 on the pdf)

All About Jazz on Blaise Siwula

Suono.IT

Downtown Music Gallery

Jazz Tokyo

Jazz.PT

Music Boom

Toma Jazz review by Pachi Tapiz, translated by Babelfish

Commentary: Hommage an Klaus Kinski is the first recording in pair of the Japanese pianista polifacético settled down in the United States Nobu Stowe with the artist Lee Pembleton, who exerts here of sonorous linen cloth designer. All the music contained in the compact one, except for a precious version of "' Round Midnight", is totally unexpected, so as they indicate the titles, including "Hommage An Klaus Kinski", the subject that gives to title al CD. Perhaps although the companions of this one pair can make think about an artistic line that it enters by lands of the free more seasoned improvisation and free, music contained here has a high melódico content. As much it is thus, that the work of the pianista is closest to the improvisations of Keith Jarrett (all a reference for the pianista), who to those of Cecil Taylor (to put an example). This line of stylistic development is appraised more with more detail in the pieces in formation reduced: "Duo I-A", and specially the magnificent one triada formed by "Duo II-B", "Hommage An Klaus Kinski" and "' Round Midnight" that serves so that the disc finalizes of a sensational way. On the contrary, both subjects in quinteto (that they last more than 36 minutes), include elements nearer free, as for example simple melodía of almost ayleriano cut that the long one crosses - more than 21 minutes "Quintet III", being perhaps these two pieces less interesting from the recording. As far as the here present musicians, in addition to the magnificent forms of Stowe to the piano and the surprise who suppose those sonorous linen cloths that Pembleton sends for the improvisation of its colleagues, it is necessary to honor to the ocarinista veteran Perry Robinson, but mainly to Ross Bonadonna, in special in his facet of guitarist. A recording that is everything a discovery. It will be necessary to follow with attention the work of Stowe and Pembleton.

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