Percussionist Max Jaffe wis balik karo album solo anyar ing 09.13.24 ing Whited Sepulchre Records. Sampeyan bisa ngerti Max saka kerja karo Dave Harrington lan Patrick Shiroishi ing album kolaboratif "Speak, Moment" ing awal taun iki. Inovasi percussion sensory Jaffe lan keterampilan minangka drummer wis nyebabake kolaborasi kaya karo Elder Ones, JOBS lan akeh liyane. Kanggo karya solo ing "@Reduction of Man", Jaffe nggoleki ing kedadean minangka percussionist lan komposer - shepherding trompet player Chris Williams (HxH, Pink Siifu), gitaris Willene Grefs (Trigger), lan bassist

Max Jaffe ora ngarepake kanggo nggawe album kanggo nguripake dekade-plus sing dheweke nyenengake ing New York City nalika njaluk Reduction of Man. Operating minangka elegy preemptive, Reduction of Man nyuripake trajectory musik Jaffe nalika ing New York City - proses njupuk fluent ing sawetara basa musik lan budaya sadurunge, alatan pendidikan linear saka musisi MFA (yang Jaffe uga). album "solo" Jaffe ndadekake dheweke ing pimpinan ansambel - ngarahake proyek nalika dheweke muter: siji tangan druming, liyane komponis lan ngedhiyakake ing fly, shepherding sawetara suara musik menyang siji sisih - ketegasan sinewy antarane noise lan groove.</pfseg>

Sebagai penerima awal saka teknologi Sensory Percussion drum set, Jaffe wis ngembangake drum set ing wilayah sonic menarik. Nalika praktek artistik nggunakake SP dikembangaké, dheweke miwiti rasa hubungan karo proses wis ngetokake dinding. Ngandhut sadurunge nggunakake sistem sensor minangka cara kanggo nyebabake lan ngleksanakake sampel (2019 Giant Beat minangka bukti pisanan saka proses iki), Jaffe ngetokake Reduction of Man minangka cara kanggo ngwenehake dhewe lan batasan teknologi.

Max ngundang trompeter Chris Williams (HxH, Pink Siifu), gitaris Will Greene (Trigger), lan bassist / keyboardist Jesse Heasly (Spirits Having Fun) kanggo serangkaian sesi inti; mantan Elder Ones bandmate saxophonist Matt Nelson (GRID, Flying Luttenbachers), tenor saxophone Nathaniel Morgan (Helado Negro) lan multi-instrumentalist Lucia Vitkova nggabungake ing sesi tambahan kanggo ngrekam lan apa sing bakal dadi Reduction of Man.

<pfseg id="0">Layanan on-the-fly iki ngidini Jaffe kanggo nyusun kanthi ketat pertemuan kasempetan lan fireworks momentary saka improvisers muter ing lan ing ngendi, nggawe lima komposisi sing nyaring minangka donya sing diciptakake ora set saka improvisasi discreet. Reduction of Man iku album kepercayaan sing ana ing antarane.

This “in-between” mirrors Jaffe’s life in many ways. Born to a Korean mother who grew up in Hong Kong and a Jewish father, and raised in a majority white suburb of the Bay Area, Jaffe found it difficult feeling connected to his parents’ minority cultures. Likewise, coming up in the Bay Area, Jaffe absorbed musical subcultures as they availed themselves to him: jazz, breakcore, hardcore punk, experimental electronic music, all were formative launch pads into his musical career. Max has drummed in the pointillist noise rock band JOBS, as part of the aforementioned Amirtha Kidambi’s Elder Ones and as the live drummer for EDM artist Chrome Sparks.

While these different expressions reflect Max’s searching for exploratory sonic purchase, it was going to school  at the New School for Jazz in NYC that shifted his thinking about his own place in music. Having accessibility to legends like William Parker and Gerry Hemingway allowed Jaffe to experience the spiritual connections between the primarily punk-oriented scenes he started out in and the jazz-oriented world of NYC he had plunged into. In a formative turn, Max was exposed to the free jazz approach to percussion - more energy than metric precision. This allowed him to navigate his NYC experience in similar terms, that there was a groove that existed between and through myriad musical pulses.

Reduction of Man feeds on those same energies. Energy flowing from collective improvisation into Jaffe’s compositional tools and vice versa captures a groove that runs beneath the noise - a vital third thing that is neither Max Jaffe nor the players - it’s the sound of New York City plowing another groove through the center of another listener's musical nervous system.