{"id":422,"date":"2019-11-18T23:29:00","date_gmt":"2019-11-19T05:29:00","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=422"},"modified":"2021-06-24T17:09:05","modified_gmt":"2021-06-24T22:09:05","slug":"review-tyshawn-sorey-marilyn-crispells-the-adornment-of-time","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-tyshawn-sorey-marilyn-crispells-the-adornment-of-time\/","title":{"rendered":"Review: Tyshawn Sorey & Marilyn Crispell’s ‘The Adornment of Time’"},"content":{"rendered":"\n

A single fully-improvised piece of over an hour in length, percussionist Tyshawn Sorey and pianist Marilyn Crispell\u2019s The Adornment of Time<\/em> is a challenging work. It is not simple, danceable, easily listenable, or intended as background music. It is highly unlikely the listener will fully grasp its importance upon first approach. However, further delving into its depths produces something simultaneously beautiful and unique even among the already distinguished discographies of both artists.<\/p>\n\n\n\n

For those familiar with the modern avant garde, neither Sorey nor Crispell need much of an introduction. Before age 40, the former has forged a path uniquely melding and obliterating the line between classical music and jazz. This is perhaps best seen on his 2016 release The Inner Spectrum of Variables<\/em>, which remains one of this author\u2019s favorite albums of the past decade. The latter has proven herself a revolutionary on the cutting edge of avant garde music for over four decades, from her trio with Gary Peacock and the late Paul Motian to her sideperson engagements with Anthony Braxton, John Cage, Reggie Workman, and Henry Grimes.<\/p>\n\n\n

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