<pfseg id="0">Percussionist Max Jaffe ti wa ni o wa pẹlu titun solo album lati 09.13.24 on Whited Sepulchre Records. O le mọ Max lati awọn iṣẹ rẹ pẹlu Dave Harrington ati Patrick Shiroishi lori awọn oniwe-iṣẹ album "Speak, Moment@" ni akọkọ odun yii. Jaffe's sensory percussion innovation and skills as a drummer have led to rich collaborations with Elder Ones, JOBS and much more. For his solo work on "@Reduction of Man", Jaffe lọ si bi percussionist ati composer - shepherding trumpet player Chris Williams (HxH, Pink Siifu),

<pfseg id="0">Max Jaffe ko ba fẹ lati ṣẹda ohun album ti o tẹsiwaju ọpọlọpọ awọn ọdun-plus ti o tẹsiwaju lati wa ni New York City nigba ti o gbọdọ awọn Reduction of Man. Ṣiṣẹ bi a preemptive elegia, Reduction of Man tẹsiwaju Jaffe's music trajectory nigba ni New York City - a ilana ti gbọdọ ni ọpọlọpọ awọn musicals ati awọn agbalagba ni akoko kan, ṣugbọn awọn ilana linear ti a MFA musician (ti a Jaffe tun jẹ). Jaffe's akọkọ "solo" album ri o ni ọwọ kan ti ọpọlọpọ awọn ẹgbẹ - iṣakoso awọn ọja nigba ti o ṣẹda: ọkan awọn ọna

Gẹgẹbi a akọkọ olumulo ti awọn Sensory Percussion drum set technology, Jaffe ti wa ni idagbasoke awọn drum set ni iyanu sonic territory. Bi rẹ artistic imọran nipa lilo SP ni idagbasoke, o bẹrẹ lati gbadun pe rẹ ipa pẹlu awọn ilana ti o ti ṣe iṣeduro aarin. Nibi ti o ti tẹlẹ lo awọn ilana eto bi ọna lati ṣẹda ati ṣe iṣeduro awọn ayẹwo (2019 ti Giant Beat bi awọn akọkọ iroyin ti ilana yii), Jaffe bẹrẹ awọn akojọ Reduction of Man bi ọna lati fẹ rẹ ati awọn iṣeduro ti awọn ọna ti o wa.

An invitation to participate in the Pioneer Works Music Residency program provided an opportunity to spend a month, in July 2021, dedicated to these creative goals. Max invited trumpet player Chris Williams (HxH, Pink Siifu), guitarist Will Greene (Trigger), and bassist / keyboardist Jesse Heasly (Spirits Having Fun) for a series of core sessions; former Elder Ones bandmate saxophonist Matt Nelson (GRID, Flying Luttenbachers), tenor sax player Nathaniel Morgan (Helado Negro) and multi-instrumentalist Lucia Vitkova joined on additional sessions to improvise and record what would become Reduction of Man. Jaffe would trigger an “event” using Sensory Percussion to which the players would respond through improvisation. Jaffe would then process and manipulate the band's output in real time - drumming with one hand, composing with the other.

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.