<pfseg id="0">Percussionist Max Jaffe geus balik jeung album solo anyar out 09.13.24 on Whited Sepulchre Records. Anjeun bisa nyaho Max ti karya na jeung Dave Harrington jeung Patrick Shiroishi on album kolaboratif maranéhanana "Speak, Moment" di awal taun ieu. Inovasi percussion sensory Jaffe jeung kaahlian salaku drummer geus ngabalukarkeun kolaborasi kaya jeung Elder Ones, JOBS jeung loba leuwih. Pikeun kolaborasi solo na on "Reduction of Man"@, Jaffe parantos ningkatkeun salaku percussionist jeung komposer - shepherding trompet player Chris Williams (HxH, Pink Siifu), gitar

Max Jaffe teu merencanakeun nyiptakeun album anu merayogikeun dekade-plus anjeunna dihabiskan di New York City nalika nambahan Reduction of Man. Operating salaku hiji elege preemptive, Reduction of Man nyandak trajectory musik Jaffe nalika di New York City - hiji prosés jadi fluent dina sababaraha basa musik jeung budaya sakali, badag pangajaran linear hiji musisi MFA (yang Jaffe ogé nyaéta). album "solo" Jaffe nawarkeun anjeunna di kaunggulan hiji ensemble - ngarahkeun proyék nalika anjeunna maénkeun: hiji lengan drumming, anu séjén composing jeung editing dina fly, shepherding sababaraha sora musik ka hiji ujung - hiji tegangan sinewy antara badag jeung groove.

Saatos adopter awal tina Sensory Percussion drum set téhnologi, Jaffe geus ngaronjatkeun drum set kana wilayah sonic panganyarna. Salaku praktek artistik nya ngagunakeun SP dimekarkeun, anjeunna dimimitian ngarasa yén hubungan na jeung prosés geus dipigawé hiji dinding. Ayana saméméh ngagunakeun sistem sensor salaku cara pikeun ngéléhkeun jeung ngatur sampel (Jiant Beat of 2019 mangrupakeun bukti kahiji tina prosés ieu), Jaffe dimimitian pikeun nambahan Reduction of Man salaku cara pikeun ngéléhkeun sorangan jeung limitasi téhnologi nawarkeun.

<pfseg id="0">Ajaran pikeun partisipasi dina program Pioneer Works Music Residency nyadiakeun kasempetan pikeun nyadiakeun hiji bulan, dina bulan Juli 2021, anu didedikasikeun pikeun tujuan kreatif ieu. Max nyadiakeun trompeter Chris Williams (HxH, Pink Siifu), gitaris Will Greene (Trigger), jeung bassist / keyboardist Jesse Heasly (Spirits Having Fun) pikeun runtuyan sesi inti; mantan Elder Ones bandmate saxophonist Matt Nelson (GRID, Flying Luttenbachers), tenor saxophone Nathaniel Morgan (Helado Negro) jeung multi-instrumentalist Lucia Vitkova gabung dina sesi tambahan pikeun improvisasi rekaman jeung naon bakal jadi Reduction of Man. Jaffe bakal ngabalukarkeun hiji "tempo" ngagunakeun Sensory Per

This on-the-fly approach allowed Jaffe to tightly compose the chance encounters and momentary fireworks of improvisers playing off and to each other, creating five compositions that sound like worlds being created instead of a discrete set of improvisations. Reduction of Man is an album confidently existing in the in-between. It’s in-between composition and improvisation, jazz and experimental electronic music, recorded in NYC and finished in Los Angeles.

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.