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Sounding Point

Mark Feldman

Sounding Point
On opening track, ‘As We Are,’ he interlaces the two extremes, sliding out of firm lyricism to fizzle and flash, or using the fingers of his left hand to pluck a clipped pizzicato while simultaneously...

Sounding Point

Mark Feldman

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On opening track, ‘As We Are,’ he interlaces the two extremes, sliding out of firm lyricism to fizzle and flash, or using the fingers of his left hand to pluck a clipped pizzicato while simultaneously...

About

The New York violin virtuoso Mark Feldman presents a new solo album, a portrait of the artist now, some twenty-six years after his first solo CD. Sounding Point contains six of his own compositions as well as one piece each by Sylvie Courvoisier and Ornette Coleman. Coleman's 1987 Peace Warriors is one of three pieces in which Feldman skilfully employs overdubs.The American jazz critic Kevin Whitehead writes in the liner notes: "In my 30+ years following violinist Mark Feldman, no record I know shows him off better than Sounding Point. He's made much great music in groups, but solo play gives him maximum elbow room, fully exposing the richness of his sound, his distinct personal voice, and his sensitivity to sonic texture and pacing, all at the service of musical storytelling. Take for example the shortest piece here, the improvised "Rebound." He starts with a simple gesture, the bow's horsehairs bouncing lightly on the strings, a gesture he periodically returns to (and ends with), between scenic flights: high notes and trills, bracing close-interval wailing on adjacent strings, a burst of percussive pizzicato, falling glissandi, whispered notes barely bowed - Fancy stuff. Yet those expansions and contractions, and the contrasting dynamics, sound natural as breathing."

Contents and tracklist

Awards and reviews

May 2021

On opening track, ‘As We Are,’ he interlaces the two extremes, sliding out of firm lyricism to fizzle and flash, or using the fingers of his left hand to pluck a clipped pizzicato while simultaneously bowing. Elsewhere, he uses overdubbing to create miniature symphonies as on his version of Ornette Coleman’s ‘Peace Warriors,’ where he departs from the jaunty fanfare of the theme to summon sudden flurries of sirens, ghostly harmonics and even a snippet of hoedown.
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