with Ruth Garbus
Sun March 4th, 2018
Minimum Age: 21+
Doors Open: 7:00PM
Show Time: 8:00PM
Event Ticket: $12
Day of Show: $15
free for members
This is a general admission event at Union Pool: 484 Union Ave, Brooklyn 11211
(le) Poisson Rouge is honored to host an exclusive stream of the debut album from Subtle Degrees, A Dance That Empties, before its release on February 23. Pre-orders for the CD and digital downloads are available here via New Amsterdam Records, and vinyl pre-orders are available here via NNA Tapes.
This very special feature and concert are part of an ongoing collaboration between New Amsterdam and (le) Poisson Rouge throughout 2018, marking the 10th anniversary of the two organizations, both born with the mission to elevate the new music community.
Subtle Degrees on New Amsterdam Records | Subtle Degrees on NNA Tapes
A Dance That Empties is Travis Laplante‘s latest album-length composition, written for Subtle Degrees, a new two-musician ensemble consisting of Laplante (tenor saxophone) and Gerald Cleaver (drums). The duo’s uncategorizable sound evokes everything from contemporary classical music, avant garde jazz, minimalism, technical metal, and sacred world music. Laplante is also the founder/composer of saxophone quartet Battle Trance and the ensemble Little Women.
A Dance That Empties is the culmination of a very long musical relationship. In 2001, when he was only 18 years old, Laplante played a concert at New York’s Knitting Factory, then a pre-eminent mecca for adventurous music of all kinds. Cleaver was in the audience, and came up to Laplante afterwards, handed him his phone number and said they should play together sometime. They soon did, “and I felt a very intimate and spiritual connection with Gerald that feels more alive than ever today,” Laplante says. “I’ve learned a tremendous amount from Gerald and have long considered him one of my favorite living improvisers.”
The two have performed together various times over the ensuing 17 years, but Laplante never felt he was quite ready to record with Cleaver. “It got to the point where I took a multiple-year break from playing with him because I felt like I didn’t have enough to bring to the table,” says Laplante. “I needed to practice so I could have more to give to our musical relationship.” Then, in the fall of 2016, Laplante received a commission to compose a piece to be performed at Roulette in Brooklyn the following spring. “I knew that this was the perfect opportunity to return to this relationship with Gerald.” And so Laplante began composing an epic-scale work with Cleaver’s rhythmic virtuosity in mind.
Inspired by the longer durational forms of spiritual ceremonies, A Dance That Empties is a continuous journey that unfolds over 43 minutes, with musical motifs that foreshadow, recur, and evolve. The piece refines sonic territory that Laplante has pioneered in his celebrated saxophone quartet Battle Trance, as well as his solo saxophone work, utilizing long passages of circular breathing and other extended techniques to create specific and yet ineffable emotional and sonic resonances. A Dance That Empties, as the title implies, adds the distinctly new element of complex rhythmic pulses precisely and expressively executed by Cleaver, that compel listeners to lose themselves in the hypnotically repetitive yet subtly shifting grooves.
With A Dance That Empties, Laplante and Cleaver throw themselves into unknown territory, delving further into the devotional intensity that has long distinguished both their work.
Travis Laplante on Subtle Degrees:
“Playing in this duo with Gerald is by far the most exposing musical experience I’ve ever had. I think it feels so raw and vulnerable because it has a similar nakedness to playing solo, while at the same time I’m completely relying on and needing to stay connected with Gerald, no matter what. It requires 100% trust in another person, as well as myself. Our respective parts in A Dance That Empties are so meticulously interwoven that it can potentially be disastrous if one of us makes even a tiny mistake. It feels like the riskiest piece I’ve ever written in terms of the psychological, emotional, physical and sensory demands.”