At one point, French composer and pianist Eric Satie was considered too obscure and it was thought he would remain so. These days he seems to be one of the key inspirations to many modern musicians trying to bridge that divide (is there one?) between modern classical music and jazz. But, most of these remain in the ‘inspired by’ category, early transcending into something that, while being inspired by, gives something new and unique. One of those is German pianist/composer Hauschka, and by the evidence of her new album “Bloodroot,” New York multi-instrumentalist and composer Kelly Moran might be another.
Of course, on the trail of something new, you are obviously not inspired only by one artist or style of music, and what Moran does is incorporate all she knows (and likes) and slowly holds it into something new. Satie is just a starting base and Moran does not simply focus on one aspect of his work. Usually, the inspired stay in the realm of the more, shall we say, melodic aspects of Satie’s work. But like Hauschka, Moran digest all the aspects, including those more atonal ones and brings in the multi- element to the fore with the use of prepared piano and she seems to have found a perfect new use of the toolbox standing under her kitchen sink.
What she does with those screws, utensils, or whatever is produce new, inventive music, but also music that is neither hard to the ear, nor hard to digest either. It is also evident that Moran has an excellent grasp of microtonal sounds, eastern or otherwise because in all the numbers presented here you can truly gather the meaning of the word shimmering. Those bows and e-bows she also uses throughout the album seem to give that extra touch. But it is her grasp of her craft and the sense of atmosphere, and yes, the melody that make “Bloodroot” shine. Nothing to be scared of with this one.
