Thing about Grasshopper is you can't go wrong: Jesse DeRosa and Josh Millrod are amazingly consistent in their slow-burn improvs for trumpet(s) and electronics. That said, 'Prince' is their epic, each track tracing a murmur-to-scream trajectory via very different routes.
Favorite track: Soleas.
1. Soleas 13:09
2. Zero Hour, 9 AM 09:12
3. That's a Weird Fucking Lizard 14:24
"Goodnight Sweet Prince" is the culmination of 12 years of banddom for Jesse DeRosa and Josh Millrod. These somber trumpet soliloquies, bubbling electronic quagmires and rolling tides of feedback squelches have their roots deep in the woods of Long Island where the two met under the guise of learning classical trumpet at the same summer camp that launched Mariah Carey to stardom.
Over the years, they've toured the world with orchestras, studied classical music at two of the world's finest conservatories and eventually landed in mangling the sounds of their polished trumpet tones to create throbbing walls of droning jazz noise.
"Goodnight Sweet Prince" is the bands most focused work with three improvisations that move freely between unadorned jazz trumpet tones, dense polytonal orchestration and harsh outbursts of noise all surrounded by a thick cloud of hazy smoke... a seriously hazy cloud that washes over the whole thing giving it a warmth that tempers the harsher moments.
These three improvisations are among the last recorded at The Bakery in Harlem. They were originally recorded for ESP Disk, but then rejected for "sounding too much like Miles Davis". While there are moments that evoke "Sketches of Spain", they are quickly engulfed by waves of harshness that would make Miles cringe and go back to smoking a jazz cigarette in hopes that it might make a bit more sense.
Goodnight Sweet Prince is dedicated to the loving memory of Martin Dreiwitz, conductor of the Long Island Youth Orchestra and firm believer that Josh Millrod and Jesse DeRosa would never amount to much.
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“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt
supported by 6 fans who also own “Goodnight Sweet Prince”
My humanities professor showed me this piece and i cannot stop coming back to it. Something deep and alluring of this piece keeps me wanting more. Absolutely one of my favorite cuts from last year. renderedextract