COIN COIN Chapter Three: river run thee
CST110      CD 180gLP MP3 FLAC

"Something of a one-woman opera, these 12 tracks plow through harsh noise passages and spring into sudden refrains, drift through halcyon field recordings and float through harrowing spoken-word passages... Late into 'river run thee', during one of the album’s more placid moments, Roberts declares, "I like to tell stories." The admission might suggest an easy key to the world that Roberts is building with COIN COIN. But it seems too reductive, really, not unlike calling her a mere musician. She collects stories, analyzes them, and then transmogrifies them, aggregating bits of material until anecdotes become open-ended, elliptical histories. Roberts knows that any story, just like jazz, is only an initial approach to something much more broad and important. Three albums into COIN COIN, it’s now clear that Roberts isn’t just a storyteller, musician, ethnographer, historian, bandleader, arranger, improviser, or activist. She plays all of those roles, yes; collectively, they power one of the most provocative ongoing bodies of work by any American musician.

"Part three of Matana Roberts' ongoing 'Coin Coin' series sees her reaching new heights of troubling majesty. Or rather, new depths, given the churning, oceanic feel that underlies these multilayered tales of slavery, courage, tradition, history and counter-history. The first two chapters in the series fell somewhere between, above and below free jazz. Her 'panoramic sound quilting', as she describes her method, created historical narratives with multiple instrumentalists, operatic incursions and the persistent reminder of musical and historical debts. But this third chapter sees Roberts in solitary, vocal-heavy mode, without an ensemble but producing looped music such sustained complexity it's like a host of angels (or demons) attempting to express the entire history of everything all at once."
The Wire

"River Run Thee is an extraordinary sonic collage, constructed from loops, field recordings and live overdubs. As to whether this is jazz or not, who cares? What matters is the music - and it is remarkable, weaving together saxophone improv, folk fragments, poetry, accounts of the slave trade and personal testimonies in an approach she calls 'panoramic sound quilting'. Working from an elaborate graphic score that incorporates photographs, archival texts and musical notation, Roberts layers her own sung and spoken vocals, saxophone and electronics into a rhizomatic work that disrupts linear narratives and maps points across time. Yet for all its openness of form, River Run Thee is not some amorphous piece of sound art. It's a deeply compelling work, with a true sense of momentum... An astonishing work of history, memory and sensed experience, River Run Thee confirms Roberts' place as one of the most important living artists in any field."
The Quietus

"'River Run Thee' ups the ante in Roberts' project. It is initially elliptical, but its self-determination, unflinching courage, and intense focus and openness create an indefinable but living, breathing art."
All Music Guide
COIN COIN Chapter Two: Mississippi MoonchileMatana Roberts  CD / 180gLP / DL
COIN COIN Chapter One: Gens de couleur libresMatana Roberts  CD / 2x10" / DL
Yanqui U.X.O.Godspeed You! Black Emperor   CD / 2x180gLP / DL

• THE WIRE: #2 Album of 2015
• A CLOSER LISTEN: #2 Album of 2015
• THE QUIETUS: #5 Album of 2015
• TINY MIX TAPES: #25 Favorite Album of 2015
• PITCHFORK: #6 Experimental Album of 2015
• SPIN: #4 Avant Album of 2015
• ROLLING STONE: #15 Avant Album of 2015

Matana Roberts is one of the most acclaimed, socio-politically conscious and aesthetically intrepid composers, band leaders, horn players and experimental sound practitioners of the past decade. Her multi-chapter Coin Coin work, which Constellation began documenting in 2011 with Gens de couleur libres, has placed her at the forefront of stylistic innovation and radicalization, while confirming the deep substance and soul that guides her compositional agenda. Following the critical accolades that the first two Coin Coin chapters have thus far received, the past year has been marked by further career-defining recognition for her body of iconoclastic work: Roberts was a recipient of both the Herb Alpert Award in the Arts and the Doris Duke Impact Award in 2014.

Roberts has long employed the phrase “panoramic sound quilting” to describe the process surrounding her Coin Coin work. The third chapter in her Coin Coin series finds Roberts implementing this metaphor most explicitly, constructing a sound art tapestry from field recordings, loop and effects pedals, and spoken word recitations, alongside her saxophone and singing voices. Coin Coin Chapter Three: river run thee could arguably be considered first and foremost a vocal work, and notwithstanding its experimental and esoteric structure, a deeply narrative work as well. Not unlike 2013’s Coin Coin Chapter Two: Mississippi Moonchile, the new chapter unfolds as an uninterrupted album-length flow, this time in what Roberts calls “a fever dream” of sonic material, woven in surrealist fashion. Fragments of traditional song act as the main touchstones on the album, with Roberts’ singing voice riding atop waves of radiophonic texture, layered spoken word and an often dislocated, wandering horn.

Working once again with engineer Radwan Ghazi Moumneh, and returning again to Montreal's Hotel2Tango studio (the location for her Chapter One recording in 2010), Roberts ran the river run thee tape back multiple times, adding new layers in real time, from start to finish (as opposed to calculated, isolated overdubs). The result is a visceral audio document that combines structure and improvisation in the fullest sense: not just in the playing and performing, but in the very marrow of the work's compositional DNA. It is also, for the first time in the Coin Coin cycle, a solo work, emerging from a lengthy solitary road trip Roberts took through the American South in early 2014, amassing historical and documentary information through interviews, site visits and field recordings.

Coin Coin Chapter Three: river run thee signals yet another highly adventurous and socially engaged definition of what Jazz can mean in this day and age, and a fascinating extension of the Coin Coin cycle, where rather than surfacing and reactivating through the group dynamics of a musical ensemble, history is inhaled and exhaled through a solitary practice seeking to evoke and echo its tangled thicket of febrile strands.

Thanks for listening.

Release date: 03 February 2015
Running time: 45:35
Packaging notes

CD comes in a custom gatefold jacket printed on thick 24pt. paperboard with a printed CD dust sleeve. LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight jacket with black poly-lined audiophile dust sleeve, credit insert, 2 pull-out art posters and download code for 320 kbps MP3 copy of the album.

Artwork by Matana Roberts

1. all is written
2. the good book says
3. clothed to the land, worn by the sea
4. dreamer of dreams
5. always say your name
6. nema, nema, nema
7. a single man o'war
8. as years roll by
9. this land is yours
10. come away
11. with me seek
12. j.p.

Matana Roberts: Alto saxophone, Korg Monotron, Korg Monotron delay, Korg Monotron duo analogue, wordspeak, early 1900s Archambault upright piano

Recorded and mixed by Radwan Ghazi Moumneh at Hotel2Tango, Montreal.
Mastered by Harris Newman at Greymarket, Montreal.

Sound samples from #southernsojourn2014: a scaled-down field recording weave of Roberts' 25-day ramble in wintered Mississippi/Tennessee/Louisiana USA and a touch of a very chaotic New York City 21st century.

Also samples from:
Malcom X, "Confronting White Oppression", Feb 14 1965, Ford Auditorium, Detroit, MI.
Gertrude, last name unknown, homeless and sweet, downtown Jackson, MS.

Text from:
Captain G.L. Sullivan, "Dhow Chasing in Zanzibar Waters", 1873.

Public domain songs quoted throughout:
"Star Spangled Banner" - Francis Scott Key
"Beautiful Dreamer" - Stephen Foster
"The Pledge of Allegiance" - Mississippi State Senate
"My Country Tis of Thee" - Samuel Francis Smith
"Lift Ev'ry Voice and Sing" - James Weldon Johnson
"All the Pretty Horses" - unknown origin