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By David Grundy.
Paul Desmond (Part Three)
The tale continues, as Paul Desmond finds himself in the midst of a satanic ritual, playing bamboo flutes in a frozen wasteland, and attempting to represent complex philosophical truths. Dr artin !uther Blisset remains your humble narrator.
An Appreciation of Sergey Kuryo hin! On the Occasion of a "eissue of Some Com#inations of $ingers and Passion
"#n unpredictable unfolding of contradictory states, agony, $ouissance, terror, hope, dementia, insight...% By ð 'atter
%ender and &usic! '(n Our Different "hythms Together)
" aybe one day, there will no longer be the need for special features on gender( a post Patriarchal )apitalist society will experience genuine diversity * human+ind,s multidimensional difference will be what unifies us. -ntil then, .,m happy to grapple with the contradictions of gender * music in our time.% The complex relations between gender and free improvisation form a topic which always seems to receive less scrutiny than it should( hence aggie /icols0 essay, which addresses some of the issues at sta+e, with particular reference to her own career at the forefront of improvised music.
*ou Tu#e +atch
1ideos documenting recent live performances by the !ucio )apece2)hristian 3esten duo, and the trio of Tania )hen, &haba+a 4utchings and ar+ &anders, as well as a studio session featuring the great bassist )ecil cBee, and archive footage of 5ohn 3lemmer in his pre6&mooth 5azz phase.
7rom music for contemporary $azz big band, to new releases by established masters of free $azz and improvisation, and new experimental wor+s for voice and electronics. #rtists include 'adada !eo &mith, Bill Dixon, 5oel 7utterman, Darcy 5ames #rgue and Gigantomachia. Plus 8&P6Dis+ re6issues of recordings by )harles Tyler, The 9evolutionary 8nsemble, and &un 9a bassist 9onnie Boy+ins( and a re6visited version of a :;<=s solo recording by Byard !ancaster. 9eviewed by David Grundy, .an Thumwood and &andy 3indness.
-nder consideration are> artin 'illiams0 ta+e on iles Davis0 ?3ind of Blue0( the first ever free $azz coffee6table boo+( and a thought6provo+ing collection of essays considering the relation between noise and capitalism.
Gannets and Phil 'aschmann blow away the cobwebs in @xford( &unn @AAA threaten to undermine the building with the force of their sonic vibrations in Bristol.
lisset .PA/0 DES&OND (Part Three) .y Dr &artin 0uther .
a lattice of frozen ferns. "'elcome. 'hite s+in rising in gooseflesh.0m )leo. the +nife. 9everse6twisted mirror above the oa+ beamed fireplace( # small whitewashed cottage. its curved blade flat against her s+in. relaxFand of course we call dad ?7ather 5ohnny0F% Brubec+ stands in the centre circle. &outh 'est of !ondon. &omewhere south of the river.. . 'e are no more emotionally eGuipped to deal with the lives we live than are trained poodles. let0s not be formal.. thirteen are assembled hereF% "#nd call me om.s for sure.ad The hands of the cloc+ run bac+wards. Thic+ fog outside. Brubec+ shivers.English +inter can #e "eal . begins to swing a flaming censer in a wide arc above the heads of the cowled peasants. @ld6'orld ways .s freezing. guess. and of course you +now my husband 5ohnnyF% "Ees. yes of courseF% )leo casts her robe aside. her proud breasts rising and falling in the firelight. are li+e dogs. #s midnight approaches hooded figures assemble in a torchlight procession.% "#h yes. )leoI% "Ees darling what is itD% "The +nife. "@ur number is complete.. ")leo. 7ather 5ohnny places a bowl at Brubec+. . probably :Bth century. rough voices rising in cadence. . or chase hares for sport( to be rewarded or chastised according to their performance. This isn. .s feet. that.t )alifornia.% "'ell o+ay Dave. #nd these 8nglish customs can be a little strange.n her right hand a silver dagger gleams. to dance and wear s+irts and dive through burning hoops.H &inister half6tone harmonies. !ow voices chant ancient winter rhymes( the firelight spar+s and throws up long shadows against the outbuildings. ister Brubec+ C or may we call you DaveD% "Ees. Gosh . wearing a cape which seems to be made of dried fish s+ins and tur+ey feathers. it0s lovely to have you with us. wish they0d give me bac+ my clothes thoughF )leo steps into the firelight> "4uman Beings. Paul Desmond halted his . are they notD Dogs that that have been trained to stand on their hind legs. 5ohnny Dan+worth. (f *ou li e &usic That Doesn1t %o Any-here2 Then This Could .t. ister Brubec+. have long admired your wor+F% Blac+thorn hedges obscure the remote stable6yard. dear.e $or *ou333 Thatched stic+s.. call me Dave.
"5eez old pal come on. i am inside.% . one more piece. "mush mush. recurring here on the ice. i am the drill head. Guic+march. 'hat you do see.BJ. there was a brubec+ cd on the table in front of him.% he rested his head on the wooden table top. outside outside. the dogs. 'e been wor+ing on some new tunes. he sat at the wooden table in the middle of the only room and reached into his $ac+et poc+et. how did you get this numberD% ")ome on pal. we can loo+ inside. "where0s the. the dogs. ) then 8. &hit. the old farmhouse was deserted. the army did. at heart i am a muslim. H4oney. "one piece. 7our four time. )ome on now. ) o+. who gave you this numberD% their last conversation coming bac+ at him. at heart i am an american. the purity of water freezing. it0s me David for chrissa+es. there is no reality. he had no idea what this ob$ect could be. 7 sharp0s the middle note. at heart i am an es+imo. an inuit person. it was :. the music of bamboo. in the morning he was dead. petties. o+ i0m coming. sat at the table and pulled out the +endal mint ca+e.. i will play the only music. "howling at the grave of their master. come in.H there was no one. such sweet music. only the ice +nows this. soprano playerD #nyways this guys been showing orello. the dogs were howling. onward. mish mash. what d0you say. all is in pieces. the farmhouse was deserted. out in the ice. mish mash. been showing him these scales. we need you. petty concerns. slow april. nothing is real. the music of the night. right left right left. 4ey you +now whatD 'e0ve done some tunes. the sledge moved gliding over the flat white grey terrain.% he reached into his inside $ac+et poc+et. There0s only two whole tone scales. military. the tattoo. no one answered him.% he loo+ed out into the wastelands of ice and snow. 4e made his way through the +nee6deep snow to the wooden door. &o.% the snow and ice opened up in front of him. . )ome on bac+ Paul. where0s the. i am drilling. orello met this guy. he raised his head and shouted. ta+e say. 7 sharp and then G. &ymmetrical scales man. #nd then you put notes in around that symmetrically. you call that music.. o+ doggies. Hfuc+ you brubec+. unconcerned. the ban$o player. there are no pieces. )ome bac+ why dontcha. &o you always +now you0re either in one or the other.there is no symmetry. one piece now.team of dogs and reached for the flas+ of brandyF The stone farmhouse seemed deserted. bamboo and flute. the drill is in my head. !acy. they fuc+ed him up. bac+ to the old whole tone scale.m home. is you split the octave down the middle. this is the way step inside.0 "who gave you this numberD this number is ex6directory. only the ice. paulD paulD hello.
only the sound of the chimes. H&hit. everything is in the bamboo. i too have. H@+ you guys.% hours later he came to.H .s to seeD 5ust get him up off the ground and into the trun+. there was an almighty silence. all is not. are we movingD% hours later he reached the bamboo chimes from their tarpaulin wrapping. there is no plastic in reality. 4e wrote the chords down on a match box.s in one hundred and sixty four eleven time. everything is nothing.H HBoss. four big tyres. Put him in the trun+. i am gone.he held the receiver out and loo+ed at it.H H'hatD 'hat.% he patted the tarpaulin bundle in front of him on the sledge. i am outside. supporting a large land rover. pulled up on the ice.% he +new only the ice could +now. are we moving. the wind in his ears. @ne minute later. he was dead.H 4e chuc+les to himself. i will eat them or they will eat me. . hours later he was one with the ice. "no scales in infinity dave. no scales in infinity.H 4e had a new tune going round his head.% his grass s+irt was solid. a waste of fuc+in space. i too have loved.H HBossDH H@+. only the ice and my flute. " there is no symmetry. "no. gotta catch up.% he put his ear to the ice. "the wind. the chimes. was he movingD did he really $ust hollerD "no scales in the oneness. then he was dead.s slippery. i am not. the mint ca+e. brubec+ will beat me to it. water. boss this stuff. "there is no plastic in the allness. @+. stuc+ to itself. mish mash mish mash. HGoddam.% he threw his head bac+. all is illusion.H 7ootsteps on the snowy ice. blac+ plastic against the white and grey landscape. H4ot damn.% he caught himself thin+ing wrong. you +now the drill. space mon+ey. outside of society. his beard freezing. the sledge was still. nothing is not. the bamboo and the flute. i will listen to the ice. the ice. puppies. the wind is howling. "frozen to themselves. the water of everything. puppies. hoy+ee caro+ee. no sound. such sweet songs. "the chimes. through the graves the wind it howled. my flute will $oin the music of all that is. godawful. yeah.this is plastic. the cold filled his ear and then it filled his brain. nothing is real. the wind howls through my thermal long$ohns. thin+ you better come loo+ at this. the mint ca+e. of reality. only the ice. "there is nothing. minutes later he came to on all fours. +etchup. nothing. i will have to eat the dogs. The good old days are coming bac+. this is the way step inside. he threw away the telephone. the music of night. i too have loved. play his awful music to the frozen wastes. alongside his head. puppies. dogs shaped li+e a sausage hot doggedy dawg. his flute stood up erect from the ice. thin+ this one.
H H'hat.s his head.re saying.H. Blood.s Bamboo. that aint strictly legal. no soul. #nd . 4ot water is what we need. /othing there behind the sound. yeah. does the 'hite 1oodoo apparently. Eou +now we have.t. are you chewing something #nthonyD . Plays with almost no attac+.s this guy in 8ngland man. # real &!. !isten man there. # blac+ coc+erel.s with you guys. This wasn.. The low throb of drums always there in the distance. H4ey Paul. .. +inda blac+ i guess. /othing there man. @r 'ild Tur+ey. it.t ma+e out what you. 'e. HPaul. &ome +inda dan+ name y.ll have some coffee while we.s stuc+ to the ice.s a thaw between him and the ice. even out here. #lmost no sound at all. The night pulls you into its vortex. coulda lost points off my license pal. H.t the first time someone had tried to hip him to this 8nglish guy. arried to a blac+ chic+.H They pour hot water over his Paul. -nspea+able rites hidden. They dump him in the trun+ and drive off. Paul Desmond lay awa+e staring at the clapboard ceiling.s frozen face.H H&orry.t. or whatDH #s the strong dar+ espresso eased his troubled mind. while . This Dan+worth business was beginning to disturb him.H !auretta stands in the doorway in laddered stoc+ings. till eventually there. )old. if reports were true. yeah. gotta try * learn it though.H HEeah sure boss. he whistled Bridge over Troubled 'ater to himself. 5eez this place is the end. veiled. the .s this guy over in 8ngland they rec+on plays even more anodyne tone than you man. was tryna drive.m pretty sure.ve planned for this. Paul. . 'ell. Dave shoots each of the dogs in the head to accompanying yelps. as they say.H HEou still fooling around with the fluteDH HEeah man. 4is face.re at it. for this thing with arilyn.% !ater. no feeling.7ool. Ghost trains passing in his sleep.s the fuc+en total B!#/D 8. &mo+ing a goddamn cigarette * breath loaded with 5im Beam. &hadows run towards you. The distorted faces of the dancers. and you also +ept telling me to play fuc+in riffs on my goddam tenor. &axophone tone li+e mil+ in water. ystical cat too. almost nothing there you digD /ame. 'e. more bland even.+now. /a+ed s+in in firelight. +ept telling you to step on the gas orelloid. wa+e the fuc+ upI Eou were screaming. li+e he. 7lic+er of stars. .s Dan+6somethin.Too late to tell anyway.. can. thin+ you should hear. Got this boo+ing at a pasta $oint up in 1ancouver. 7eathers. Get the goddam primus stove out.G4T +inda tone. no inflection.&T89 or somethin. oonlight silvering the edge of her hair. alto player who .H HThere. after Braxton was gone off the phone * everything had fallen bac+ into stillness. .s Braxton here..
bloodsoa+ed hand he puts it into a bac+pac+ and starts to pac+.H 4e pic+ed up the bro+en bottle got out of bed and wal+ed towards her. Ta+ing the smallest of the flutes in his sha+ing. HThin+ it.H @ver and over. Don. Ho+ay.H 4e is whispering.H @ver and over he stabs her. reedseGuea+F "Beautiful. 4ead for the snow.H Then he. maybe. $ust beautifulH .t worry.ll all be o+ay.ll all be o+ay. This is the only tragedy he sees( that his chimes are sullied.s time to head north. shattering in the corner. 4er s+in bro+e. . H. 'hen it.s all over he loo+s at the blood dripping from the bamboo chimes. 4e used to whisper to himself Hit. that. 4e is softly crying. Gotta go.s been enduring this wrec+ of a woman thrashing around in his space.s finally smashed the shitty life out of her. . buddy. split notes.t. Bro+en glass raining down li+e falling stars. you fuc+ing bitch. listening for the crea+ of footsteps that preceded his release.bottle comes flying right at him. There. 4e as+s himself how long he. 4is fist came in behind the bottle. the peace. her hands as they try to defend herself. in the nec+. &linging his bac+pac+ over his shoulder her steps over her body.s he bac+ in his goddam $esus mood againDH &he started to smile but the bro+en glass interrupted the movement of muscle. H4ead for the snow. under the stairs when he was a boy. HGotta go. her drun+en face in the centre of his radar scanner. man. BBBB#aaauugggghhIII.s it you goddam unreasonable fuc+in whore. the acoustic.H King Of Dogshit 4 T-igs "#ll contemporary musical life is dominated by the commodity formF% "Eeah.H 4e is whimpering. "@h $eez.d ma+e up tunes. H#ll you ever fuc+in do is swear and cuss me. the chest. &omething wheezes. her stomach. in his mind. or something coming out of her. !i+e he used to in the cupboard. #ir or a fart.m so scared. but listen to thisF% # familiar hellish s+ron+ing noise. contaminating the air.. /o more commerce and trade and too much brute ugliness. silently. 4e is glad he.s nothing and no one here for you.
. 'hat it has to say is simultaneously revealed and concealed. 8ven though $azz musicians still improvise in practice.n a great many cases. @ne is the fact that the detail remains openly connected with the underlying scheme so that the listener always feels on safe ground. The other is the function of HsubstitutionH K the improvisatory features forbid their being grasped as musical events in themselves. in other words.mprovisations K passages where spontaneous action of individuals is permitted LH&wing it boysHA K are confined within the walls of the harmonic and metric scheme. false notes.ts . . very few possibilities for actual improvisation remain. doomed as ever. play a conspicuous role. standardization of the norm enhances in a purely technical way standardization of its own deviation K pseudo6 individualization. is only an extreme instance of what happens less conspicuously in all individualization in popular music. not to communicate meanings. however.t is demythologized prayer. . . They are apperceived as exciting stimuli only because they are corrected by the ear to the right note. The latter is so rigid that the freedom it allows for any sort of improvisation is severely delimited. rid of efficacious magic. stereotyping of improvisatory details speedily occurred. .t contains a theological dimension. 4ere.ll tell you a little secret> The most drastic example of standardization of presumably individualized features is to be found in so6called improvisations. They can be received only as embellishments. The choice in individual alterations is so small that the perpetual recurrence of the same variations is a reassuring signpost of the identical behind them. any chord .. due to the necessity of merely melodically circumscribing the same underlying harmonic functions. 'ho could have foretold this /ew @rleans revival. nearly twenty6 five years after Bun+ 5ohnson acGuired his new teethD H!isten man. . to name the /ame. This. . Thus. dirty notes. . their improvisations have become so HnormalizedH as to enable a whole terminology to be developed to express the standard devices of individualization> a terminology which in turn is ballyhooed by $azz publicity agents to foster the myth of pioneer artisanship and at the same time flatter the fans by apparently allowing them to peep behind the curtain and get the inside story. &ince these possibilities were very Guic+ly exhausted. This pseudo6individualization is prescribed by the standardization of the framewor+.t is the human attempt.The language of music is Guite different from the language of intentionality.dea is the divine /ame which has been given shape. the musical function of the improvised detail is determined completely by the scheme> the brea+ can be nothing other than a disguised cadence. such as the Hbrea+H of pre6swing $azz.t is a well6+nown fact that in daring $azz arrangements worried notes. HThis subservience of improvisation to standardization explains two main socio6psychological Gualities of popular music. #ny harmonic boldness.
Paws slipping out from under them as they scurried towards the telephone table. that is. hus+s of breath almost devoid of life. $ust a Guic+ little taste while stoc+s last.... Pomade for the unwashed hair. /ow.H MMM The puppies thrashed and yelped with excitement. Brown afternoon light.. Desmond residence. cottonballs... fuc+ shit. .Brown bottles. . or rather the na+ed scheme.. /o.. digDH Cool . an orange and purple blur.)raggy good loo+s. ister Ba+er. &cudding water into his gaping mouth triggers splintering teeth.. Ees. almost a death rattle. shaves with trembling long6 fingered hands. H4ello. new.. shit.t here right now.urnin1 +ith The Chet .m afraid Paul isn. where they clamboured ontop of eachother. out through dust6colored curtains. sGuinting into the foxed mirror. ta+es some fuc+in. Good as fuc+in.a er 5uintet (6789) The dry nylon landscape stretches out. &crape of eyeball on motel carpet... # vampyric rustling.. &+ull a pulse of hard pain. E#P E#P E#P E#PI Their little bellies slapping and s+ittering on the parGuet floor.t +now when he will be bac+. !ight suc+ed from the room. . . as a stimulus which carries with it the unambiguous prescription to substitute for it the right detail... &he almost had to hold the phone at arms length with revulsion. li+e bloodF H#w. Desmond lifted the receiver.. #)48F'ater that tastes li+e chal+... a blac+ened spoon..ll be sure he gets your message.. then maybe have me a good loo+ thru the old address boo+. a dry suc+ing sound came from the earpiece. he. some sort of fur.. /ail clippings.s out on tour at the moment.H ... get to the fuc+en sin+.but urgent and alive with suppressed need. #ir crac+les with atatic. 6 ahem yes. HTo absent friends.H # voice li+e desert wind.H )het Ba+er clic+s the overhead light. -nderstanding popular music means obeying such commands for listening. 4airball tumbleweeds. don.which does not fall strictly within the simplest harmonic scheme demands being apperceived as HfalseH... The dry tongue searches for moisture. wheezing and panting and yelping until rs. H/o. Popular music commands its own listening habits.. 9avines run vertically down the ruined cliff of his face. maintenance these days. # stay6pressed button6down shirt from the cardboard suitcase. The sin+.
67:6 &artin trumpet3 "Basically. Ba+er wore his dar+ suits and white shirts with an insouciance only a $azz legend could muster. billboards * truc+stops. "E@. 7inally selecting a large * already battered6loo+ing straw hat. # few scattered pesos. a $ob for which ... . found myself in the strange position of being Tour6 anager to a group of visiting #merican $azzmen. Braxton.% 4e simply fell out of the windowF #n automobile is $ust a tool )het Ba+er li+e a shadow passing through the bright afternoon. and would li+e to ta+e this opportunity to share with your readers some reminiscences of my own. )rac+ed lips whistling an old tune> "'here The )olumbines GrowF% Eeah. route OP all the way passing thru all these dead $oints. . made in 'isconsin../ot given to strong drin+.)@ C ?!#/D @7 8/)4#/T 8/T0 % Dead roadsigns litter the desert.. ".n the summer of :../G /8' 8N.. .% /ow that we are going on a trip.. the noted $azz critic. These old frontier songs go down real good with the socialites.#98 /@' !8#1. she nevertheless had to pour herself a gin * tonic and sat hugging herself by the dogbas+et until long after the dachshund pups had fallen bac+ to sleep. 4it the interstate up into )olorado. 4aze of dust. $riday2 $e#ruary 662 . )het Ba+er> 4auntingly beautiful. Desmond.. but was ta+en rather ill at the last moment. maybe we can wor+ up a head arrangement. have had the good fortune to chance upon your web6log. buzzards. eyes invisible behind shades. was not remotely Gualified. Eellow flowers by the roadside.<<9 Dear r.t happened that my dear friend ax 4arrison. was to have chaperoned the entourage. iles. )het. vultures. perpetually troubled.f my decomposing carcass helps nourish the roots of a $uniper tree or the wings of a vulture C that is immortality enough for me.PQ . all played a particular brand of trumpet called a artin. all the great trumpet players.ll play it real purty.ll remember that one. . 8lbowing aside the exicans as he moves through the mar+et stalls. #nd as much as anyone deserves..whenever he saw a billboard he wanted to tear the son of a bitch down 6 specially when it had his own face on it. .
. orello managed to inhale part of the repast. my dear wife 8dna was at the door to greet us and the fine aroma of traditional 8nglish 4ot6Pot wafted on the honeysuc+led air. dare say strong liGuor and tobacco were ta+en in some Guantity. both the very epitome of elegance and /ew 'orld charm. do not care to +now what went on behind that door. 4eavens 4oney. rs. Brubec+ and r Desmond. Paul. . and a hearty band of fellows they seemed to me.. .ve been so worried. )ordial introductions were made all around. The gingham chec+ed curtains fluttered gently. 4e lugged the suitcase up the wooden porch steps. one warm 5uly evening that . where on earth have you been. the $ester of the bunch with a team of porters to carry his $umble of percussion items to the charabanc( r. rather than navigate through the infernal !ondon traffic in search of a suitable hotel.. # slight spar+ of static from her nylons. . The sun was still high and a warm golden light spilled through the clean spar+ling window pane.t is not necessary here to give full details of our $ourney from 4arwich. our guests were shown to the spare room where they were to spend the night. #fter some confusion during which r. 'hen we reached Ponders 8nd. brushing aside the yelping dachshunds. and we presently were on our way. . . and you +now how he hates to be disturbed at home. But even at that early hour of the night. and banging his shin hard on the old roc+ing chair. the sound of merriment and the tin+ling of glasses preceded the boat across the water..m 4ome. #s the vessel hove into sight through the gathering mist. felt a sudden and unseasonal chill which penetrated to my very core. .4oney. home is the hunter333 . Tic6tac of heels on the parGuet floor as she crossed to the icebox. .. . Desmond dropped the bright yellow duster when she saw him there.&o it was. found the bright chec+ of their matching sports6$ac+ets to be rather dazzling in the low sun. found myself on the Guayside at 4arwich waiting to meet the boat from 4olland.nside the +itchen the fresh smell of floor polish hung in the air. although . but . 8ugene 'right. dwarfed by his double bass( orello.Paul. must have called ister Brubec+ a hundred times. .. &oon my charges were assembled in the terminal. except to say that for one reason or another we were obliged to ma+e many unscheduled stops.n view of this it was decided that . then. should put the band up for the night. and by the time we approached the outs+irts of !ondon the hour was Guite late.
that motherfuc+er. they attempt to represent comple= philosophical truths "These our actors. Two dry martinis appeared on the green formica table.. shall dissolve . Eea. it. trying not to bump too loudly on the wooden steps.. 4e too+ the yard ra+e and covered his trac+s. Eeah. whimpering and scrabbling at the corners.m home. the great globe itself. @+ay.s for sure..n the house the dogs were already lic+ing at the bloody seepage. the gorgeous palaces.m worried about that smell. The cloud6capp..d towers.Eeah. Paul Desmond eased off his brogues * flexed his toes inside his argyle soc+s. all which it inherit. The floor would have to be washed and polished again. . into thin air> #nd... #s . li+e the baseless fabric of this vision.s company> . The solemn temples. that.n the +itchen the dogs +ept sniffing around the suitcase.s getting worse.. dragging the goddam case in a trail of slime and gore out thru the bac+ door. .s worse than a goddam priestF0 &he chose to ignore this uncharacteristic outburst. 4e was awa+e before dawn. .Paul. That night they lay in their twin beds in the moonlit room. # runty sausage dog nuzzled up against his feet.. unused to each6other. were all spirits and #re melted into air. foretold you. . get the sonofabitch into the garage.
!eave not a rac+ behind. but what did ornette get out of the whole thingD Hsweet f.@/ .t. miles davis was ca$oling cecil saying Hyou.& #98#. paul desmond who was there having $ust given anthony braxton some saxophone playing tips $umped up all excited and challenged cecil to play some mon+.#nd./ T4.1.H apparently cecil got on the piano and was $oined by mary lou williams and they played some very down home church music. man. they were once at the same party. you says it. .H were ornette. >>?>@A@BCCCCCCCCCBD A"CE(FE &ATE"(A02 source un no-n they have never once met. at this point they both had moustaches. story of my goddam life. cecil taylor got very enthused. and down the fire escape $ust as ornette wal+s in the front door./ @P89#T. also out of this party came a life long friendship between braxton and desmond. all you play is goddam motherflippin white classical crap. and climbs out the window. then he gets up. and of course the cecil mary lou duet album.a. as it happens. li+e this insubstantial pageant faded.re a white motherflipper cecil. 'e are such stuff #s dreams are made on. this is the closest these two out cats ever came to meeting.D8@ )# 89#& #98 .s rounded with a sleep. both of whom. and our little life . shared a love for sausage dogs.% .H so they all start humping this grand piano out of the study into the +itchen doorway and indeed cecil did do some very nice renditions of mon+ tunes.m gonna play mon+ the goddam piano has to be $ammed in the +itchen doorway. started sayin Hif i.s words.s the blues but it ain.
all bourgeois. in the name of ob$ective science.. 'hat is being told is the story of an instrument. the piano. .An Appreciation of Sergey Kuryo hin! On the Occasion of a "eissue of Some Combinations of Fingers and Passion . insight. each style in isolation telling us nothing.. hope. &o it is with the wor+ of &ergey 3uryo+hin. Borodin.th centuryAKan illustrious history of composers.% #ll the attempts of Professor )harcot and his colleagues at the &alpRtriSre to photograph hysterical women. a gap between the phases of a hysterical attac+. jouissance. The actual phenomenon is an unpredictable unfolding of contradictory states. terror. and its circuitous route between past and future. dementia.y Seth +atter The philosopher Didi64uberman writes of hysteria that it is "a thousand forms. whose music flirts with hysteria. Tchai+ovs+y. agony. were doomed to fail( because a still image of a hysteric is essentially only the picture of an intermittence. #nd so it is with the writer who attempts to describe this music. condemned to record in words only intermittences> for the real substance of 3uryo+hin0s art is the transition from one mode to another. The distant past Lthe :. in none. 9ims+y63orsa+ov.
wrote the following> )ontradiction is at the heart of 3uryo+hin0s career( it is one of the hallmar+s of his genius. thin+. at the same historical moment its motherland was on the precipice of a great collapse and dissolution. #nd it emerged. . if only because these heterodox influences on the musician have finally been condensed into a form so polished as to veil the wor+manship from which it was painsta+ingly crafted. am unsure( but certainly it is one of the late &oviet -nion0s greatest achievements. music of the rural poor. 4ow much. There are no longer abrupt shifts from $azz to opera. populist and avant6garde. from roc+ to waltz( that sort of aesthetic violence went out with the bathwater somewhere en route from The ays of Freedom L:. performance. the loosening of cultural oppression and renewed trade with the 'estern world. a music suppressed by government on and off since its formative years.. zoologyA which . PBA. dance. affectation2spontaneity. a music rec+lessly tossed into the arena of world culture. relics of feudalism. .aristocrats. The recent past Lthe revolution. That was in reference to a concert of :.Q:6:. Perestroika. )rudely spea+ing. The present. three years later. the multi6media ensemble Lmusic.QQ Lthe recently issued Absolutely Great!A. @r+estra Pop6 e+ani+a. structured and improvised. the time of 3uryo+hin0s maturity L:.Q:A to Some Combinations( or perhaps it was merely shouldered onto 3uryo+hin0s other longterm pro$ect.BAKGlasnost.n a recent article LSignal to Noise. /o musician before or since has so fully embodied the contradictions of the &oviet -nion while ma+ing music that so gloriously transcends them. . $oyous. a proletarian music. exuberant. called "a tireless effort to +eep the state of &oviet . tradition2progress. these contradictions number among themselves several binaries> constraint2freedom. perhaps evenKa mythological conception of 8ast2'est. MMM . august and consummative. The futureKa reconciliation of the different phases of 9ussian art. film. &talin. the )old 'arAKa &oviet campaign to renew interest in popular fol+ forms.:A reflects something of this matrix. the rapid deterioration of the -&&9 as a world power( which also meant a renewed interest in $azz. Some Combinations of Fingers and Passion L:. no. the description does not hold Guite so much water. "# poet0s speech begins a great way offF The eclipses of poets are not foretold in the calendar% LTsvetaevaA. 'hat seems inopportune may be the blessing of foresight. The pianist does not want postmodern distanciation à la 5ohn Torn( he has become tired of these myriad forms that do not congeal in the wor+ of art so much as sit side by side under the arbitrary banner of the ?artwor+0. ma+ing each pair of oppositions fissure in every direction until they explode into pure force.. a music both national and international.
the instrument opened up for dissection and vivisectionKliterallyIKslapping and bruising the insides. :.. "The usic of the Gross% LGor+y. L# film made around this time. helped cement this association of $azz with 'estern decadence( a cab driver who despises his saxophone6playing neighbor is unashamed to say he misses the guidance of strong centralized government. !istening for a few minutes to these wails. Is it $azzD -nderneath all the obfuscating factors. playing all its hammers. &pea+ing of The ays of Freedom. . one involuntarily imagines an orchestra of sexually driven madmen conducted by a man6stallion brandishing a huge genital member. rollers.=W. and buried his 'illie "The !ion% riffs beneath a torrent of atonal thrashing6 about and pointillist abstractionKat loggerheads with his muse.%A The music was considered so repugnant to official taste that it was secretly recorded and smuggled to 8ngland as the inaugural release of producer !eo 7eigin0s eponymous label.t bears repeating. each line a percussive blow Laimed at whoDA.culture in a permanent state of carnival.n the deep stillness resounds the dry +noc+ing of an idiotic hammer.OQA> . springsKpounding away in the very $oy of destructionI L5oe ilazzo of !ne Final Note> "the sound of a young man. the shrie+ of a don+ey. Thus he made his music distinctly inhuman. something of that art form remains. reared in a very particular tradition of instrumental virtuosity. but of the antagonisms which previously gave it voice. two. discovering and delighting in his powers of musical subversion. that anyone playing $azz in 9ussia would be implicated in a complicated legacy. or the amorous croa+ing of a monstrous frog. MMM . thin+ there is reticence in the early 3uryo+hin to let $azz be $azz. a wild whistle screeches( and then there are rumblings. three. supremely gestural. wails and howls li+e the smarting of a metal pig. certainly asexual.t is not often that $azz shows itself na+ed and unabashed in 3uryo+hin0s music Lthough he did briefly tac+le 5oplin0s " aple !eaf 9ag% in :.A . twenty stro+es. @ne. though. ten. manic twittering li+e a possessed pianola Lunclear whether the speed of the recording was changed. li+e a mud ball splashing into clear water.K# wonderful first recording. and after them. completely anarcho6destructive of its idiomLsA used as cannon fodder for blunderbusses of improvised runs. This insulting chaos of insanity pulses to a throbbing rhythm. strings.QUA. :. the +eys sound so tinny and unrealA.% Some Combinations of Fingers and Passion is the result of a great purification> not of 3uryo+hin0s prodigious musical vocabulary. Ta"i #lues V!ungin. .
would say 3uryo+hin never got %uite as earthy as his famous contemporaries. beautiful and baroGue( . not $ust the harmonics of $azz but the s$ing and the feel of $azz. after all. aspects which derail the music and force it to ceaselessly evolve. +now of when he really dug deep into post6war #merican $azz. li+e . . The 'est )oast master0s rhythmic innovations must have left their imprint on 3uryo+hin. the Ganelin Trio. here they wor+ together with interloc+ing melodies and rhythmic counterpoint. is "Blue 9ondo a la 9uss%. The most sublime improvisations operate in this manner. creating a fractured6hysteric aesthetic. @f course.f on previous recordings the 9ussian pianist let his hands compartmentalize the +eyboard. he couldn0t entirely throw off the heritage of virtuosic 9ussian artistry. who had little to no respect for standard $azz time signatures. But "# )ombination of Power and Passion% is one of the few occasions . By varying the pace and delivery of Brubec+0s central theme. already the music seems elsewhere. particularly Dave Brubec+0s musicKthe song0s subtitle./o such shame on Fingers and Passion( it is a sustained meditation on $azz. he allows room for new aspects to emerge. #ll the effort of moving between styles is so gradual and mellifluous. agitating each other. gaining momentum with a sportsman0s fervor or slowing down in a staccato articulation. #s soon as one has grasped the theme of a cluster of repetitions. the listener is generally unable to pinpoint the decisive moment of transformation.
which is the dissolving of one into the other> the process. that striding rhythm is simply unstoppable. Eet to isolate its phases. detours. there is reverence on the performer0s part for the standard beat. bringing bits and fragments of memory6experience to light before burying them beneath revisions. delicate and pastoral li+e a wheat field. "# )ombination of 4ands and 7eet% betrays the artist0s penchant for humor. "4ands and 7eet%. playing in the two6beat style of #merican piano giants 5ames P. There is love. . 5ohnson. the passing6through. The verdict is still out on whether or not God exists( but if he did. cries. would destroy what ma+es it so fascinating. . but is mostly remembered for a playful $ac+daw mentality. it ma+es good on the promise of its title( for once. a whole spectrum of emotions on display within this performance. writes Bachelard. &ergey 3uryo+hin would have been his gift to the piano. "# )ombination of Boogie and 'oogie% is the most straightforward piece 3uryo+hin ever performed as a solo artist.t0s close to gutbuc+et.the churning factory of the unconscious. but specifically 9ussian with its sense of high drama and capacity for florid embellishment. but had lost all meaning> a daydream of a distant future. vertigo. or a distant impossible. a tour6de6force as muscular as a )ossac+. to hold them up as illustrations of a musical lexicon. )oyote crushed beneath another russet6colored boulder. and as anyone who li+es a good boogie6woogie +nows. 4e had a biting wit. 3uryo+hin0s reverie was one in which 8ast and 'est were not only united. is the closest he comes to genuine tendernessK which is never without a win+. part6waltz. sGuaw+s or whistles. The half6hour ")ombination of Passion and 7eelings% which begins the album is the +ind of declamation orators only dream of. terror. Poets invite us to dream. /ot that the pianist sings> one is more li+ely to distinguish gurgles. carried aloft to new heights. The absurdity of matching such serious music with these shrill aleatorics is not unli+e the solemnity of 'ile 8. @ne says there are moonbeams in the linen closet( 9eason sees through this logical aporia. festivity. !uc+ey 9oberts and eade !ewis. reversals and variations. 8ven if it isn0t Guite the barrelhouse. The brand of slobbery he +ept in abeyance with his hands more often than not came to fruition through the voice. sentiment. part6ballad. but the imagination continues to be stimulated.
n roll.s attention. it was said she played li+e a man. !iterature. there will no longer be the need for special features on gender( a post Patriarchal )apitalist society will experience genuine diversity * human+ind. The pop music . as feminine or masculine musicD . when meaning * value was defined predominantly by men.s liberation movement. naively believed that men were more biologically suited to playing instruments. was sweet sixteen * hungry to be a musician.n the $azz world there was an ambivalence if not downright disli+e towards all but the most established female singers ( an assumption that they would be rubbish * 2 or a resentment of their place at the centre of the audience. which. male front line instrumentalists rarely . first started listening to $azz. trumpeter * pianist Dennis 9ose. . got my first brea+ singing in a strip club * later was ta+en under the wing of the brilliant pioneer of bebop in Britain. 'hen .s there such a thing. an influence behind the scenes> "behind every great man.% etc. 8ven then.m happy to grapple with the contradictions of gender * music in our time. roc+ .t was what . outside cultural conditioning.%ENDE" 4 &/S(C! 1(N O/" D($$E"ENT "E*TE&S TO%ETEE"1 . . . heard. personal political experience * the times we live in now. . ale acceptance * approval was everything to me which left me vulnerable to my own romantic notions about their beautiful souls * a prey to casual sexism. saw saxophonist 1i 9edd down 9onnie &cott. was in love with music of all +inds but particularly $azz. -nfortunately many male musicians mistoo+ my love of music for a willingness to be manipulated or even coerced into giving them sexual favours. given what . . politics. you name it( men battled ideas amongst themselves * women were mainly their muses. . -ntil then. who played in /orth !ondon pubs.t was a few years before . . forget what it was li+e before the women. religion. can only write from the limited perspective of history. all the same. . yearned to be part of the wonderful music . .y &aggie Nicols aybe one day. saw( female singers * male instrumentalists. @f course there were also male singers in all those musics but very few female instrumentalists.s $azz club in Gerard &treet. . listened * danced to( soul. meant being a singer. 4owever..s multidimensional difference will be what unifies us. &o many of my most precious musical moments are shared with other women now that sometimes . music. +new.
!ater.t deserve to be in the hallowed company of . Dennis started me on the road to legitimacy as a musician. 'e were another eGual but distinctive colour in the overall sound li+e the difference between a trombone * a trumpet or guitar. wasn. got to sing with other musicians * then there came a time when . as the only . learnt a lot from * started singing with in :. 5ohn turned everything upside down for everyone.t happen so often now but enough to want to do all . can suddenly feel li+e .t was also intensive listening to a huge diversity of brilliantly expressive instrumentalists even if they were all male.came in for the same hostility even though some of them were perfectly capable of completely ignoring their supporting rhythm sections when they too+ a solo.t doesn. . )onfidence is the operative word here cos even now with all my experience. 8ven in the midst of a profoundly sexist music scene . occasionally too+ delight in going along to $am sessions where . +new to fully integrate the human voice into his ensembles( we weren. don.real musicians.t +nown * seeing the conspiratorial rolled eyes * the low expectations of a female singer turn to respect * amazement once . 4e was a pioneer of a collective approach to music which also liberated individuality. There were * are many men who .m saddened to hear that so many are still getting a hard time. . can to support other women starting out. have to give credit to those men whose humanity sometimes managed to transcend gender stereotypes and oppression.. LmenA( can doubt my musicianship * feel shriveled up * small. bas+ed in their praise * approval. 8ven in free improvisation this was radical stuff.BQ when .( my low self esteem fed a feeling of false superiority to my singing sisters. y need to be accepted as a bona fide practitioner of a music that moved * inspired me so profoundly was probably one of the ma$or if unconscious driving forces behind my developing my voice as an instrument.chic+ singers. consider as part of the wonderful extended family of musicians that .t $ust occasionally decorative or floating ethereally on top. am so blessed to be a part of but for a while. . grew in confidence. especially around musicians who +new me a long time ago. women * men ali+e. Through my wor+ with him . . 4e was one of the first musicians . There was another man that . started singing. was twenty. Drummer * free improvisation innovator * enabler 5ohn &tevens honoured * adored the female voice. as . . was better than those other . .
d unleashed. before we met each other. . . Then came my exposure to the women.s liberation movement in the mid seventies * everything changed againI #fter mainly being the only woman in all male ensembles.mprovising Group was born * although we. musician. had a period where .. started to understand that what had happened to me wasn.G but when . . . disability * musical bac+ground * techniGue. the leaflets came out with the . The 7eminist . got us our first gig at a .t thin+ the organisers realised what they. 'e were provocative * perversely diverse in class.fellow.mprovising Group.B. still needed that male approval. wanted to sing with other female musicians. !i+e many other female musicians. we had a huge impact on the improvised music scene. became . . word * we too+ that name on board * really ran with itI . it was political. race. was now immersed in an all female world.re in danger of being written out of history. 'e didn. came out as a lesbian * . started running in :. * it was great cos at least . event. . .one of the boys. sexuality. usic for &ocialism. . 'e were loved * hated. did a pretty good $ob of it.t was my first experience of singing with women instrumentalists * it was wonderful. raving with the best of them. most of my intimate musical experiences had been with men. fell in love with women. * in the revelatory voice wor+shops . was respected as a .. 'e rose to the occasion in ways which both delighted * threatened.7.t set out to call ourselves 7.s .t $ust personal. #part from with singer 5ulie Tippetts one of my dearest musical soul mates. don. as the 'omen.woman. .
)orine !iensol * . the interaction. was totally uplifting * everyone excelled even more because of it( great music * inspired performances. 'e played in different combinations * the enthusiasm for each group as we cheered each other proudly from the side of the stage. . 'omen playing together * promoting each other against all the odds brought on the era of more mixed gender groups. the hanging out. about what men thought of us. with ..G L8uropean 'omen.A#o. 'e were discovering our shared experience of isolation * discrimination as women in a male dominated world. @ne of my favourite group experiences was the first women..n the beginning it was an open pool of improvisers open to all women. The $oy .e! Photograph #y Falerie +ilmer of the first e. 7. visuals * dance. .G opened the door into a whole new world of creative empowerment * many of us went on to play with each other in different combinations * still do to this day.s GroupA which brought in new women li+e bassist 5oelle !eandre * singer #nnic+ /ozati. the politics.t was truly liberating to stop worrying.m the only woman in the groupA.)ontradictions. was finally one of the women not one of the boys.s improvised music festival . the music. for a while at least. theatre.why only women.ent3 Corine 0iensol2 trumpet2 0indsay Cooper #assoonI sa=es2 Nicols in the -ig2 %eorgie .'. mixed ability in the conventional sense but each woman crucial to the overall social virtuosity that our performances expressed.. the other musicians * each unfolding moment. 'e were anarchic * unapologetic about overturning many of the assumptions about techniGue. .t was in the heady early days of sisterhood before the inevitable realisation that identity also contains difference. happens with men too but it happens more often with women or when there are other women present L aybe my gender influences the music even when . remember cellist artin #ltena saying how much he preferred playing in groups that were not exclusively male. started .s wor+shop performance group.orn cello 4 Cathy +illiams piano3 The difference that our gender made to me was in the intimacy we shared before * after as well as during the music. .G memberA in 7ran+furt. the humour. involving both improvised * written music.)anaille. organised by Dutch trombonist #nne arie 9oelofs Lalso an ex 7. .rene &chweizer * dancer 9oberta Garrison which . later developed as an open women. experience when surrendering to the use * trusting myself. . 'e laughed when over * over we were as+ed . The listening.rene &chweizer founded 8.ising %roup2 at a G&usic $or SocialismH e. .D as if it had escaped the notice of the various Guestioners that the ma$ority of ensembles were all male.er gig #y The $eminist (mpro.
the 8ast German musicians. love so much in free improvisation are something .. There was one group of male musicians however where . 8ven in bands where we play tunes. cannot generalise too much about gender * music though because there are men who can be possessed by the music * women who put up barriers. #lthough due to different circumstances. not better. different. there is a particular dynamic in rehearsals that ma+es me feel easier in my s+in when . .d $ust gone through( less analytical than some discussions . heard guitarist 5oe &achse * trombonist 4anes Bauer for the first time . 'e did two gigs 6 the first one was sheer magic. a multiplicity of twists * turns.t been overdosed with the 'estern stimuli that had made many of our male artists $aded * cynical * striving to come up with ever cleverer concepts.t was not stylistic. have $ust come bac+ from a wonderful experience singing with trombonist Gail Brand * a Belgian pianist ar$olaine )harbin that Gail * . The music was still strong but constructed more of struggle rather than trust * it was great to be able to share our feelings about the challenging personal processes we. had not been a ma$or part of the 'estern music scene. 'hen . There was a free flow of different * sometimes simultaneously different dynamics a +ind of musical multi orgasmic multi6 tas+ing.. associate most with all the wonderful women . so shared a similar sense of adventure * exploring new territory that can come from being excluded. wor+ with women or at least with men that love * respect women. . had never met before. The second gig was harder because of a grim venue literally divided in two by a concrete wall. but in my experience those multidimensional moods that .s presence * musicianship.. There is a deliriously divine combination of sensitivity * anarchic wildness . was on the edge of my seat. wor+ with. found a similar openness * freshness( the improvisers . met in the former DD9 L8ast GermanyA.ve noticed that certain male musicians * some of the female musicians who associate with them often identify themselves with one . They hadn.s it a socialised ability to surrender to flow * wander * meander that is harder for men who are maybe more socialised to stay in controlD . it could go anywhere. li+e women. felt li+e .ve had or read about the music but no less insightful * certainly less divisive. was en$oying a thriller. . # singer called artha in the audience said listening to us as women was different to listening to men. . experience with women when we let ourselves be fearless * let go of needing to prove ourselves in a still predominantly male music scene.
html . deliberately contrasting.com/id13. 7or me. . race. free improvisation still promises the most freedom from gender biased limitations( women lead * focus as well as follow * surrender * vice versa for men.m exploring freedom through specific pieces which initially limit or focus the attention in a particular direction li+e some of 5ohn &tevens. place and time where we can build up confidence in our creativity( where we can sit in silence. started hosting twenty years ago. play an instrument. ma+e sounds( melodies and noise. let it be down to preference rather than gender. . to ourselves.maggienicols. men for single6minded focus. chaos and rhyme( lullabies and laments( shyly and boldly be in our different rhythms together. soft and loud( leave space.. but no6one is a permanent leader or follower. #re both genders capable of eitherD Ees. -ltimately. age * different abilities can enthrall * liberate us all. pieces do. be poetic( prophetic( we could tal+ in tongues. fill it up( explore rhythm and time. tal+ to voices. believe that men who associate with * are willing to learn from women as we have from men for so long. the mix of gender. This is certainly the case with the Gathering which . prefer the open ended approach unless it. surely in the music we can all shape shift * focus. etc C whereas women de6ideologised go where they please.s a wor+shop or . 'e can listen.t meets wee+ly in !ondon * monthly in 'est 'ales * has recently started in !iverpool. sing.n the end. 'omen are +nown for multi6tas+ing.%: . tal+ to each other. draw. are discovering new ways to express their creativity. class. "The Gathering is a space. culture. 1 http://www.particular concept or approach Cminimalism. Both have their strengths * wea+nesses but .
Sanders This performance was filmed live by 4elen Petts at one of 5ohn 9ussell0s monthly opomoso nights at The 1ortex in !ondon Lsee $$$&mo'omoso&com and htt'())$$$&youtube&com)user)helentonicA. when some melodic agreement2 concord2 coming6together is reached between )hen and 4utchings. who has studied with 5ohn TilburyA and veteran drummer ar+ &anders. a truly fine player who was briefly name6chec+ed in the previous issue of this magazine.com2watchDvX4mdotrl<#' http>22www. gradually swelling from the silence as the trio feel their way. 9ather. the silence is not allowed to roll to cessation.E +ATCE Tania ChenI Sha#a a EutchingsI &ar http>22www. 4utchings builds circles . #t B>U:.hDs6.youtube. is here paired with pianist Tania )hen La classically6trained interpreter of )age and 7eldman. The music begins Guietly.youtube. cautiously echoing each6other0s instrumental lines. &haba+a 4utchings Lpictured aboveA. to applause and the appearance of a false ?conclusion0.com2watchDvXQze@e.*O/T/. )hen launches into a monologue C solo extrapolations on the melodic essence of the previous section C to which &anders0 bells impart a further meditative air.
and &anders0 refusal to be the .mprovisations by one6off groups such as this one may develop in different ways to those by regular ensembles.0 1 http://www.up6front. paying careful attention to what their trio partners are doing at any particular moment. as attested by the hypnotic rhythmic interplay with &tanley )lar+e on ?Blac+ -nity0 and ?!ive at the 8ast. Guic+ forays. the turn to Guietness is both unexpected and completely convincing C a hush built from 4utchings0 willingness to gauge the situation and to respond appropriately. which can spur the musicians on to move outside their comfort zones. perhaps the finest instance being his solo feature on ?!et -s Go . in the end. for. of finding ways of wor+ing together. a laudable desire not to assert oneself over others creating music that is. such ris+ can also generate a tendency towards politeness.youtube.nto the 4ouse of the !ord0.com2watchDvXsl5NO6cyegY The name of bassist )ecil cBee may have inadvertently become associated with a leading clothing store in 5apan. because his wor+ on Pharoah &anders0 early :. smiling. they are not afraid to ta+e their improvisations in unexpected directions. which is part of the excitement of something li+e opomoso> the necessity of developing new approaches. yielding some fine results. while the three musicians are certainly respectful. @n the other hand.on a recurring pattern. 'hen they reach another silence three minutes into the second clip a similar transformation could occur C but the applause cuts in and )hen shifts in her chair.mpulse 9ecords contains a textural richness and an emotional depth rarely matched in the more one6dimensional role which the instrument has had to play in much $azz music. )hen0s refusal to play except when necessary. the direction seems inevitable> 4utchings0 clarinet sets out a +ind of off6+ilter motor6 rhythm momentum into which )hen and &anders could easily slot. Given the way things start off on the second piece. perhaps overly tentative in its approach.audiocasefiles.<=s albums for .ee http>22www. . leads to a greater sense of ris+. drummer. But when they don0t wholeheartedly $oin.: but it seems that his wor+ as a bassist is still too often unac+nowledged by both critics and public.com/acf_cases/10125-mcbee-v-delica-co- . All A#out Cecil &c.0 The &anders recordings also demonstrated that cBee was perfectly capable of playing in a more conventional. spinning out and out in Guestioning webs( threads and $ourneys. That0s a real shame. in some way even embarrassed. a rumbling panic6stric+en march from &anders0 rumblings and )hen0s lower6+eyboard spi+iness. from &anders0 ?&ummun Bu+mun -myun. groove6based role. &uch pit6falls are avoided here.
as well as a feature for two basses played at once.com2watchDvX$x-aPNcwYb-*featureXrelated The wor+ for which 5ohn 3lemmer has become +nown is not exactly my cup of tea C he0s one of the principle culprits responsible for the growth of the smooth $azz movement C but.)ontinuing to wor+ in the ?spiritual $azz0 vein that characterized Sanders’ output at this time.com2A> it documents the recording sessions for the album ?&eraphic !ight0 by )oltrane tribute band &axophone &ummit L5oe !ovano and Dave !iebman.com2watchDvX DT7bG<d4's http>22www.youtube. $oined by 9avi )oltrane.youtube.0 Bret Primac+ Lhttp>22planetbret. Perhaps one day someone will ma+e a full6length feature on cBee> for now. it mixes footage of the group laying down one of his compositions with ?tal+ing6heads0 interviews featuring the other musicians Lincluding fellow veteran Billy 4artA.luesI0ate E.ening Prayer http>22www.<th Century . li+e fellow culprit Grover . who replaces the late ichael Brec+erA. John Klemmer K . 7ocusing on cBee. this short video provides an intriguing loo+ at some of his wor+ing methods. The more recent video featured here is a podcast made by the ?5azz 1ideo Guy. he recorded as leader for &trata68ast> the varied ? utima0 contained ensemble pieces with the singer Dee Dee Bridgewater.
non6 . but.com2watchDvX'4gBBJiY. if not as out*there as Barbieri0s. as well as an enthusiastic ouzon solo. 4e might never have become an absolutely top6ran+ musician anyway. which features Pete )osey as a sideman. /either the image nor the picture Guality on these two videos.mpulse record ?Blowin0 Gold0. he was seen at once as a firebrand in the Gato Barbieri2post6)oltrane vein.'ashington 5r. ironically enough..mpulse 9ecords in the mid6<=s as one of the new wave of young $azzers.mpulse had high hopes for 3lemmer. was the tool which turned him to commercialismA. contained a cover of 4endrix0 ?Third &tone from the &un0A. The second clip is a vamp6oriented trac+ which contains the same exuberant s+ron+ing as ?Blowin0 Gold0.<B ontreux 5azz 7estival. is very good Lit0s clearly been transferred from an old 14&A. pianist Tom )anning. an experimental musician Lthrough his use of 8choplex C which. and you can see why . 4is tone is hard and steely.sc . but 3lemmer has a solid band to bac+ him up as he opens with a solo echoplex ballad feature. he was actually capable of playing some very fine $azz saxophone when he felt li+e it. recorded at the :. and drummer #lphone ouzon. and someone able to connect with more popular musical traditions Lhis very fine. and he has a penchant for building his solos up to passionate sGuaw+s C it0s a very direct approach. he ensured that he wouldn0t even stand the ghost of a chance.youtube. 0ucio Capece and Christian Kesten http>22www. best +nown himself for his fusion wor+. which segues into a driving blues built around the dug6in bass6lines and comping of )ecil cBee. by limiting himself to the unchallenging world of commercial smooth $azz. &igned up to .
and the music itself has a similar sense of space within it. almost in an attitude of prayer. what we have here is in some way not ?reality0 C it must ta+e place behind closed doors. given the long periods of silence.This is footage of what loo+s to have been a very focused small gathering at !abor &onor. even constricted. some fundamental aspects of the human experience. The atmosphere is one of respectful openness. 'hat does this actually mean in terms of what we can see and hear in the video clipsD Three minutes have gone by and hardly anything has happened Lsomeone0s mobile phone has unexpectedly gone off. necessarily exists in unfolding time. even the smallest gesture can assume great drama. 3esten0s hands are clasped between his legs. and it0s admirable that such a radically committed approach exists at all. in chambers of Guiet C yet at the same time it forces a concentration on the closest details and mechanics of bodily performance and of situation of sound. )apece swings a cardboard tube in circles to ma+e music from the air. focused. 4e doesn0t sing. he simply breathes audibly. 5ust remember to use headphonesF . @n one level. for it0s not really concerned with presenting a narrative seGuence of sound events C at least. not in any developmental sense( although. the loudest sound we0ve heard so farA. 3ule. but it0s nice to get an extended glimpse at such an occasion. 3esten pic+s up some tiny plant pots from the floor and rubs them together. But to go on describing the music in this way wouldn0t do it $ustice. especially with this +ind of improvisation. who are within touching distance. an approach which provides an intensely absorbing e"'erience. bac+ in December O==B.0 . playing a conventionally blown note or a recongisable harmonic progression would come as the biggest shoc+ of all. opening up vistas of silence while at the same time being very intense. claustrophobic in its limitation of the sound field to extremely Guiet ?extended techniGues. )apece starts to rotate a violin bow around the surface of his saxophone bell in a +ind of machine rhythm. with the musicians sitting in a space that0s barely separate from the audience. !ow6Guality video is hardly a substitute for being in the same room as the musicians.n such a context. event and gesture in space> in other words. and the music necessarily unfolds along a linear axis. Berlin.
(% .* K +ith John Ste.(00 K Tapestries for Small Orchestra $/TTE"&AN2 JOE0 K Transition One! Solo Piano %(%ANTO&ACE(A K The Na ed $uture EA"%"OFE2 "O* (.eneath the Planet +OQQECK K Act ( *A&A&OTO2 E"( K Dulogue *Q(&A00OO K /npop EistoricalI "eCissues • • • • • .O*K(NS2 "ONN(E K The +ill Come2 (s No."AD$O"D2 .+aniel /ar$ood.A"NAC0ED K Charles CMTN2 &(CEE0 $3I DONT(%N*2 AB K 0a Notte $a D(LON2 .Code EO/0E2 F(F(EN K TrieOe K"E.an Thum$ood.Sandy 0indness .CD "EF(E+S (NDEL 'Criticism is always the easiest art.ag (tS TEE TE(N% K No.S2 ANNETTEI NAKA&/"A2 TOSE(&A"/ K Siyu &E"SON EESS2 DAFE K &usic from the film GPresenceH &(&ES*S K &imesys P"O$O/ND SO/ND T"(O K Opus De 0ife SCOTTCEE"ON2 %(0 K (Hm Ne.0E K Fietnam T*0E"2 CEA"0ES K Charles Tyler Ensem#le Reviewers: +a...and $ore.ens 4 The Spontaneous &usic Ensem#le 0ANCASTE"2 .O.” C Cornelius Carde• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • A(DA SEFE"O K Aida Se.er tusK K 6< %reatest EitsS +EO0E FO*A0D2 TEE K (n "epose (EP) +(0SON2 TON* (SELTET) K The People 0oo 0i e $lo-ers At 0ast +A0TE"2 +EASE0I ED+A"DS2 &A"C K &ysteries .AND) K Emergence 0EE2 PE%%* K Ne.EE K TlPn S&(TE2 +ADADA 0EO K Spiritual Dimensions SPA0D(N%2 ESPE"ANQA K EsperanOa S*0F(AN2 DAF(D K &anafon TAQA"TRS2 %EEDA0(A K "epas $roid TEE TE(N% K .ero A00EN2 CO"* K The $ourth +ay A"%/E2 DA"C* JA&ES K (nfernal &achines .id Grundy.Eere SKA"A.*A"D K Personal Testimony! Then 4 NoTEE "EFO0/T(ONA"* ENSE&.
CD "EF(E+S A(DA SEFE"O K AIDA S ! R" 0a#el! &lam "elease Date! O==Q Trac list! 4unter Gunter( 'illiams28gan( Doce @cho( &omervell2&omervell2&ari+is( -ntitled( 'illiams2&omervell2&ari+is( 7or Bruno & Personnel! )hris 'illiams> alto sax( 5oe 8gan> trumpet( Philip &omervell> piano( )olin &omervell> double bass( 1asilis &ari+is> drums ?#ida &evero0 alternates ensemble material built around pianist Philip &omervell0s $azz6flavoured compositions with shorter free improvisations for smaller combinations of musicians within the group. The Brotherhood6of6Breath6tinged melody of ?4unter Gunter0 evolves into .
and the li+eA. &omervell plays what sounds li+e a direct 4ancoc+ Guote. his brother pluc+ing a steady but ambiguous course underneath. Gerard Presencer. spurred by )hris 'illiams0 alto sax. # free improvisation for the ?rhythm section0 finds &omervell in discursive mood.t0s pretty and expertly executed C there can0t really be any complaints with that. though there is still plenty of space left during another solo by 8gan. The long. optimistic saxophone and trumpet over the dar+er hues of a unison piano and bass vamp. with a nicely controlled conclusion +eeping things concise. possessing intensity of a different +ind. though venturing down into some lower6register growls. and 8gan0s trumpet. inGuisitive bass. The final improvised piece is also the shortest. which finds them mostly wor+ing complementary lines. consisting of a song6li+e but slightly tric+sy melody stated by bright. staying within the lower to mid range of the +eyboard. mid6 range tone seems to owe something to Bill Dixon. 7ollowing this comes the first of the free improvisations. . drums and piano going for it full tilt. &omervell0s piano becomes more s+ittish. a duet between 'illiams and 8gan. and provides an immediate contrast> frantic altissimo saxophone. &ari+is contributing slowly emerging cymbal stro+es and light taps which rise and fall along complementary melodic axes. is much more within traditional $azz parameters here than elsewhere on the disc. almost classically6 flavoured moto 'er'etuo piano figure with a unison theme whose rhythmic and harmonic flavour seems fairly typical of much modern British $azz Lthin+ Guy Bar+er. The next composition is ?-ntitled0. ?Doce @cho0 is another fine composition by &omervell.B=s Yuintet with 4erbie 4ancoc+> at one point. . &axophone multiphonics and sliding bowed bass initiate a crea+ily mysterious feel for an initially drumless group improvisation( when the drums do enter. ending on a series of repeated chords. as piano and drums s+itter around the woody thrum of a bass solo before roiling chords bring bac+ the acclamations of the melody. &omervell0s piano rising in volume to usher in another climax and to spar+ a new section. brash figures.n terms of colour and harmony. # piano solo switches between $azz rhythms and rolling. alternating a delicious. whose gruff.some raucous collective improvisation. ranging into faster flights but staying mostly in the fairly subdued mood with which they end. Guic+6fire repetitions. 7rom there the mood changes. and climaxing about four minutes in with 5oe 8gan blowing fast. dying reverberations of the sustain pedal cue in a repeat of the composed material. . 8gan ta+ing a solo which builds in burred tones over Guiet. this comees across rather li+e iles Davis0 :.
0 &omervell0s melody is again a fine one.n other words. 4e realizes that to pac+age off two aspects of experience and then to artificially pit them against one another is in some sense false. combining a certain aspect of melancholy with a more optimistic sense of beauty and contentment. @f course. of staring into the void6li+e distances beyond the stars. blissful drone material. which is particularly nice to hear. is li+e the effect of loo+ing at the earth from space. This doesn0t feel li+e a ?battle0 though. . their interest is in a rather old6 fashioned +ind of theatrics. . The freer aspects. build on and move beyond this mood without destroying it> passion within the bounds of an adaptable but clear structural framewor+. where durations such as that of the human life hold very little meaning. of watching shadows drift across the moon( a sense of a time that seems Lwhatever the realityA immeasurably slower than our own.t0s a lovely way with which to end what is. the man himself laying down some lovely chord progressions. heard particularly in 8gan0s trumpet playing. but it also awa+ens a longing within us which ta+es us . the thing unfolding in a wistfully musing atmosphere. but it contains some surprisingly harsh textures from the get6 go. and . .0 then.t0s cold and frightening. #llen does more than simply contrast two sets of sounds. rather than a more subtle textural approach. given the way that often supposedly ?avant6garde0 artists end up reinforcing the old melody vs noise dichotomy by contrasting pretty sounds with harsher ones to convey some sense of ?beauty under assault0. rather than attempting to brea+ down barriers between what is accepted and not accepted as ?beautiful0. assume it0s dedicated to the actor who starred in 'erner 4erzog0s ?The 8nigma of 3aspar 4auser0 and ?&trosze+. for me.Though it might not be immediately clear from the scratchy opening. for the state of wonder is one of terror as well as blissful contemplation( states of mind.n &earch of )hordata #nalysis V#nimal #ggreggationW( 'e 4ave !ots of Time Personnel! )ory #llen> oog. on a certain level. that drones and chords of a certain type are more ?pleasant0 on the ear than the harsh buzzings and crac+lings with which they are ?assaulted0( but. #David $r%ndy& CO"* A00EN K '( F")R'( *A+ 0a#el! Yuiet Design "elease Date! O==Q Trac list! 8xedra( Telepathic &olve( )hordata #nalysis( . The effect of listening to a trac+ li+e ?Telepathic &olve. lac+ing the touch of heat and fervour that ma+es us thin+ our humble little lives mean something. emotion and body are always combined in ways more complex than are simple dualistic categorisations allow. 7ender 9hodes iracul( #ll &uns( ?The 7ourth 'ay0 is ostensibly an album of beautiful. ?7or Bruno &0 is the disc0s ballad. it0s true. throughout. a very pleasurable listen. as the blistering clouds of static which open ?8xedra0 refuse to give way to the choir6li+e chords which swell underneath.
bass clarinet. tenor saxophone( 5osh &inton> clarinet. baritone saxo6 phone( &eneca Blac+> lead trumpet( ..A. (D$) DA"C* JA&ES A"%/EHS SEC"ET SOC(ET* K I.out of our box.AC(I. fluegelhorn( 9yan 3eberle. into a consideration of a +ind of consciousness which one might call cosmic.ngrid 5ensen. 9ob 'il+erson> flute.F R. soprano * tenor saxophones( ar+ &mall> clarinet. to fall into any traps of false faith or hope or trust C not in the sense that one is bludgeoned. i+e 7ahie. Trac list! Phobos( Teno( Transit( 9edeye( 5acobin )lub( 4abeas )orpus Lfor aher #rarA( @bsidian 7low Personnel! 8rica 1on 3leist. S 0a#el! /ew #msterdam 9ecords "elease Date! O==. our street. but ushered. bass clarinet. soprano * alto saxo6 phones( &am &adigurs+y> clarinet. !aurie 7rin+. There0s something soothing about this> a giving over of oneself to mystery Cnot in the sense that one has to abandon a critical. willingly. Guestioning sense. into Guietude and a +ind of necessary state of acceptance. /ad$e /oordhuis. 5ames 4irschfeld> trombone( 5ennifer 'harton> bass trombone( &ebastian /oelle> acoustic * electric guitars( i+e . Tom Goehring> trumpet. alto flute.
@n trac+s li+e "Transit% you do sense the excitement built up in the head being dissipated within the first couple of bars of the trumpet solo. for exampleA and the punchy approach of 4ollenbec+ that loo+s beyond $azz for inspir6 ation. ca$on.mpressive for a self6produced record. "Transit% represents one of the stand6out trac+s and is followed by "9e6 deye% which starts promisingly with the mixture of acoustic and electric guitar before developing into a piece convincingly written to describe the state of tiredness at which you feel you are floating. There are other soloists who are giv6 en chance to shine. 7ender 9hodes and a rhythm section that embraces roc+ and minimalism. offering a compromise between the +ind of themes of which &chneider is so fond L"Teno%. punchy brass.ngrid 5ensen and trombonist 9yan 3eberle.4oloboer> piano * electric piano( att )lohesy> contrabass * electric bass( 5on 'i+an> drum set. .ndeed. pandeiro. albeit without the older man0s immediate impact. having reached this point in the record you begin to wish for a greater range of material and a bit more variety. this band even shares some of the same personnel with these other bands. and you do wonder what a sprin+ling of more established improvisers could have done for this mu6 sic. #rgue0s approach eschews the traditional notions of Big Band writing with its combination of woodwinds. ost of the names listed in the personnel are totally un+nown to me. orchestral $azz writing has now become in6 creasingly complex since the days of 8vans0 more minimal scores.n some respects this band appears to sit in between the styles of his two colleagues. uch of the material is very similar and only "Transit% seems to pic+ up the tempo from the slow 2medium compositions that dominate this disc. #s this record shows. there are a few reservations. )learly. . ore closely. #s exciting as this record is. the dominant solo voice being the roc+6edged solo guitar of &ebastian /oelle. but this is a record where the band itself is very much the star and the improvisation is a tad anonymous. with aria &chneider and 5ohn 4ollenbec+ already having es6 tablished their reputations. percussion This debut )D has been much vaunted on a particular $azz website and it is fair to say that this big band is drawing audiences from beyond $azz. the music wor+s best when the ensemble is playing full throttle. . * misc. -ncompromisingly contemporary in many respects and clearly a product of the composer0s generation. . )oupled with the similarly slow6moving "4abeas )orpus%. the band puts a nod in the direction of some of Gil 8vans0 :. such as trumpeter . here is an original voice ma+ing itself +nown and it is fair to say that the superior writing does dominate.<=s wor+. the appearance of )anadian composer #rgue on disc represents a triumvirate of former Bob Broo+6 meyer students now finding themselves at the forefront of big band ar6 ranging.
The other concern is the employment of an electronic percussion instrument to drive the band and whilst this certainly grabs your atten6 tion of the opening trac+ "Phobos% with its gently throbbing guitar riff Lthin+ of the effect of Gil 8vans0 "!unar 8clipse% on the album "Priestess% and you will get the impressionA . The alto soloist returns once more over the riff which grows progressively louder and ferocious providing a fitting climax to this record. &topping mid6way through to change tac+. the remainder of the chart features the alto soloing over another vamp until developing into some impressive orchestral writing over a bass pedal. this is a fascinating record and demonstrative of $ust how exciting the potential is for modern big band writing with ar6 rangers fully conversant with contemporary )lassical techniGues and fully capable of creating their own musical identity. all the same. @n the plus side. Darcy 5ames #rgue remains a name to watch for those interested in this field of $azz.n conclusion.S . the album ends very strongly with "@bsidian 7low% where the melody is pic+ed out by an alto saxophone underpinned by a slightly menacing riff which gradually builds up in excitement. #Ian 'h%mwood& .A"NAC0ED K C(AR. . #rgue later employs this instrument throughout "5acobin )lub% with the conseGuence that you desperately want to hear a proper drum +it to lift this chart beyond the almost mech6 anical crawl. # more varied pro6 gramme would have made this one of the most interesting releases of the year but.
but retains a sense of underlying menace with the rhythm section0s uneasy groove. a clear affinity for the more angular. icons of musical regress.sland septet Barnacled charting the oft6perilous waters of ?progressive0 roc+. !ovecraft Las the liner notes astutely remind us. for startersA. filtering this sensibility through members0 interests in such varied musical terrain as pun+. . 'hilst ?Title0 hints at the Guic+6fire barrage of hardcore pun+ and extreme metal. . fuzzy bass6line and blasting drums C supplant the minor6+ey horn parts for tremolo6pic+ed guitars and it could almost be blac+ metal at certain points. ambient drone over which the saxes wrangle in free $azz fashion. alto and baritone saxA which suggests a harder6edged &oft achine circa ?Third0. horn in 7. $arring Gualities of other genres +eeps any latent hippy tendencies safely in chec+. P.nstead the group draw on the more whimsical style associated with bands of the so6called ?)anterbury0 scene. before the main riff returns once again.0a#el! 8&P Dis+ "elease Date! /ovember O==Q Trac list! 9attles( !osing 'eight Through Prayer( 5ennifer Plastics( Three 9apid 7ire &hell Divisions( !anguage Barrier( Polyurethane( &imulacrum Personnel! 7ran+ Difficult> electronics2+eyboard( ichael 5effries> bass2baritone saxophone2modified &pea+ * &pell( 5ason cGill> alto saxophone2percussion2shortwave radio( att c!aren> drums2 percussion( #lec 3. 9edfearn> accordion( #nn &chattle> horn in 7( 8rica &chattle> bassoon ?)harles0. but with the teapots and gnomes replaced by the monstrous beings of 4.t is these opening three trac+s that best exemplify Barnacled0s dar+er.<=s dinosaurs whose pretentious pseudo6classical excursions made them. and free $azz. with its grinding. The band eases up on the pace on ?!osing 'eight Through Prayer0. however. !ovecraft was also a native of ProvidenceA. metal. which begins with an insistent chromatic line from the band0s horn section Lcomprising bassoon. edgier ta+e on the $azzy psych6roc+ of the )anterbury bands C whilst the humour and good6natured whimsicality remains. despite the occasional stylistic reference to the free $azz of 8&P forebears li+e #lbert #yler and &un 9a. that of those now infamous :. 9epeated variations on the opening riff eventually give way to a spacey. bac+ed by thunderous percussion. Barnacled0s oddball sound is Guic+ly established on opening trac+ ?Title0. . ironically enough. on top of which accordion and horns explore 8astern6tinged modal ideas> imagine Gong. Barnacled0s brand of prog is not. an album named for the friendly faced goat which adorns its cover. The trac+0s overall reliance on repeated riffs and a hammering bac+beat suggests that. Barnacled are at heart a ?roc+0 band C albeit an unusual one Lthere are no guitars. second trac+ ?9attles0 is more openly indebted to such music. #fter a solo spot for drums and accordion the riff re6emerges and drives the piece to its conclusion. finds Providence. 9hode .
and the unabashed incorporation of such diverse influences sometimes threatens to turn the music into a stylistic mishmash Lperhaps this was intentional( postmodernism has. #Daniel -arwood& &(CEE0 $3 CMTNI ABDONT(%N* K -A . even when they don0t Guite get it right. these forays into ?avant6garde0 music don0t offer a great deal that is new or terribly exciting C certainly nothing to compete with the pioneers of such approaches. meanwhile. alternates between a melodic horn refrain and whispered free improvisation in music that recalls the &pontaneous usic 8nsemble. ma+ing it a far cry from the sterile blandness of some minimalist fare.8lsewhere on ?)harles0 the band venture into more overtly experimental territory. polymorphous sound can prove enervating at times. find the band returning to repeated gestures. although Barnacled bring a LunAhealthy sense of warped6ness to such material. with throbbing rhythms redolent of minimalism C again. is a noise piece employing electronics and radio( ?Polyurethane0."'' FA ABDontigny &ichel $3 CTtU . 9ather perversely. Barnacled0s wilfully eclectic. not something . notably ?Three 9apid 7ire &hell Divisions0. made pastiche an acceptable aesthetic approach C according to someA. after all. find particularly thrilling. Barnacled bring a sense of weirdness and daring to their music that many contemporary bands wor+ing within the broad idiom of roc+6derived music lac+. @ther trac+s. Eet. and for this they deserve credit. ?5ennifer Plastics0 for instance.
mangled out of recognition.t0s rather li+e listening to a radio station with really fuc+ed6up reception for an hour. tapes. @ne is left to conclude. There0s no real Guestion of ?soloing0 here. danceable beats +noc+ed to one side to leave something which has a definite physical pull to it. for generic references. #D$& . shuddering $ourneys through the brain.( #lexandre &t6@nge> bass and sounds on U * . as they0re pretty much useless in describing music that0s so determinedly as+ew. so resistant to easy digestion and to standardised comprehension as this( music as chemical substance. but which isn0t going to ma+e you dance to any sort of regular rhythmC rather.( #lexander acsween> additional drums on :( 5ean 9en]> viola on J 5ittery. hurtling through the blood6stream. percussion. the few moments of respite being provided through samples of aurice 9avel0s ? a ere !0@ye0 and a Don )herry trumpet piece that appear.. or even of distinguishing between the various musicians. or nightmarish. #nother comparison might be the sample6overload of early Public 8nemy without the LrelativelyA stabilising element of )huc+ D and 7lavor 7lav0s vocals. snippets of grooves and beats that have been pulled and stretched and chopped to pieces C collide and Lless freGuentlyA cohere into a soundscape that can stri+e one at different moments as either fun. and then discarded for the next set of electronic whirligigging.0a#el! *records "elease Date! O==Q Trac list! 9itmi di oggetti1 -nlisted )ard /umber1 Paxil @rigami )lub( Bounce Dat #9/1 !ube !iGueur( 5umping @ff inoru Eamasa+i0s Building1 1isiones /octunZ( targetXHblan+[H( /aines Gui gesticulent( The Boo+ Burner Personnel! ichel 7 )\t]> drums. for pretty much the same reason. are toyed with. given the way that everything is mashed6up through electronics> the occasional beats which can be heard to come from a conventional drum6+it are soon overlaid with all manner of computerised sputters and run6away loops. with the tendency to repetitive. so schizophrenically active. which are at least determinedly about something> no such reference points here. electronics( #[Dontigny> cut6ups. sped6up way. . in a +ind of crazy. then. your stop6start spasms will give you away as a madman dancing to the disrespectful voices in your head. that it0s best to avoid loo+ing for comparisons. drum machines. cut6up music in which a barrage of samples C fragments of barely6recognisable speech. which might have pulled things in a more ambient direction L^ la )oil0s ? oon0s il+0A is +ept firmly to the bottom of the mix on his one contribution to the album. micros. and 5ean 9en]0s viola. +eyboards on . dsp( Bernard 7alaise> guitar on U * . spar+ing all sorts of strange. The starting point here would seem to be the more experimental moments of #utechre or #phex Twin. conventional instruments running a gauntlet of electronic distortion.
tympani. electronics( ichel )onte> contrabass clarinet."RC( S'RA 0a#el! 7irehouse :O "elease Date! /ovember O==.. flugelhorn.( Tapestries( Durations of Permanence( . flugelhorn. cornet. drums. Additional (nformation! The physical release of the album Las opposed to PJ versionsA. electronics( &tephen 4aynes> trumpet.( #dagio> &low auve &cribblings( LDisc TwoA #llusions .. flugelhorn( 9ob azure+> cornet. electronics( Taylor 4o Bynum> cornet. comes with a D1D documentary covering the recording sessions. entitled ?Going to the )enter0.A-. bass trumpet. electronics( 'arren &mith> vibes( marimba. piccolo trumpet( Graham 4aynes> cornet. . gongs.nnocenenza Personnel! Bill Dixon> trumpet.(00 D(LON K 'AP S'RI S F"R S. bass clarinet( Glynis !oman> cello( 3en 7iliano> bass. Trac list! LDisc @neA otorcycle 0BB> 9eflections * 9uminations( &livers> &and Dance for &ophia( Phrygian .
shut the fuc+ up.f you can.t do something more beautiful than that. This has always been the case with Dixon0s own playing. repeated mid6register notes. after all.: one of the challenges involved was providing enough distinction in the sound mix between five trumpeters2cornet players with similarly dar+ sounds. . slowly6shifting drones. That0s not to say that there aren0t solo spots. favour a dar+ palette. The effect is a +ind of blurring. as amply demonstrated by his last album. !ow. ?:< usicians . ? otorcycle ?BB0 starts with melodic material for unaccompanied bass which succeeds in forcing an initial concentration.html .% The result tends to a +ind of substantial minimalism C very slow. but not Guite. produced by a very careful manipulation of individual detail( a more horizontal than vertical approach.com/200 _0!_01_a"chive.blogspot. overlapping melodic lines. neither ensemble nor solo passages contain a wasted note( as Dixon puts it> "!isten to the space in the room. . almost trance6 li+e. occasional electronic twea+s. rather than the duo and solo format which ma+es up much of his recorded output. in some cases seeming to mimic his approach C muted growls.n &earch of a &ound> Darfur0. and the title of his latest release announces that the sound will once more have an orchestral dimension. particularly given his use of electronics. breathy whispers. though C for instance. But Dixon does. and the fact that the other trumpeters also deploy electronics. #nd yet even this apparent lac+ of activity C most pronounced on the sustained hush of ?#dagio> &low auve &cribblings0 C reveals itself upon closer inspection to consist of complex structural balances and connections. shimmering vibraphone.Bill Dixon0s most recent recordings have found him wor+ing in large ensemble settings. where the slightly larger ensemble produced slowly emerging chord6clouds and slowly shifting unison passages in which the ensemble mesh was produced by individual instruments in near. meditative. #s &tephen 4aynes notes in his online $ournal2blog covering the recording sessions for this pro$ect. . total alignment.nexorable yet fragile. ?Tapestries for &mall @rchestra0 is slow6 moving. high6pitched flurries cascading into silence C adds to the collaborative feel.n any case. seeming to lac+ any overtly linear development. in ushering the listener in to a music which needs to be heard with open ears. repeated upward flurries all combine to create a sound field that is uniGue in modern music. and deeply affecting. with solos emerging as parts of the texture C li+e a colour highlighted in a particular portion of a canvas C rather than as monologues supported by an ensemble bac+ground. predominantly atmospheric. #D$& 1 http://stephenhaynes.
The saxophones mesh together in thic+. @pener ?# 'orld without &un0 is relatively brief. flute. its progress is assured. overblown impasto. nasal. ?!uminous Predator0 has. 5a$ou+a6flavoured piping of ario 9echtern on sopranino. 8dwards and #ndrew Bar+er ma+e up for the absence of a bass with a pulsating rhythm field that almost simulates an #frican drum choir in its self6generating propulsion. grindingly intense in its timbral Guality. while 'alter and 8dwards rise in alternating crests so that the texture is always filled with metallic pings. @nce this launches into motion. #s the full band rises from this textured opening to full6 blast collectivism. due to the abrasive. the title seems entirely appropriate> music that is predatory in its speed and energy. etc 'hat you get when you match up two drummers of such explosive power as 'easel 'alter and arc 8dwards is a music that0s volatile and loud. the 8vans2 5ones2 7laherty2Blancarte line6up is in general slightly more concerned with the intertwining of melodic lines C or at least. 'hile neither band exactly goes easy on the listener. etc( ario 9echtern> sopranino. tossing off shrie+ing flurries and melodic repetitions.&A"C ED+A"DSI +EASE0 +A0TE" %"O/P K . and the two large ensembles they wor+ with on these four trac+s unleash a +aleidoscope of textures that fly past li+e super6fast flashes of light. at first.+S' RI S / . A'( '( P-A. Darius 5ones0 alto and Peter 8vans0 trumpet ta+e on bouncy $azz inflections while Paul 7laherty unleashes throaty rasps on tenor. Trac list! # 'orld 'ithout &un( !uminous Predator( Boo+ of the Dead( The )oral 9eef Personnel! LTrac+s : * JA arc 8dwards> drums Lright channelA( 'easel 'alter> drums Lleft channelA( Tom Blancarte> bass( Peter 8vans> trumpet. the contrast of melodic line with more purely textural smears. groaning6ship bass is $oined by the multiphonic growls of the twin saxophones. and everyone drops out until the last sound heard is the clic+ of finger on saxophone. Playing super6Guic+ lines. alto * baritone saxophones. the sheer determination of its wailing. Blancarte0s bass is felt as an underlying vibration as much as it is heard playing bass6lines. he ta+es a brief solo under which the triple6drum bac+ing of 'alter. chattering possession. This is in large part due . an almost oroccan vibe. ' 0a#el! ug8NP!@D8 "elease Date! O==. rumbles and rolls. but also somehow luminous and full of clarity in the total commitment. melodica( Darius 5ones> alto saxophone( Paul 7laherty> tenor saxophone( LTrac+s O * UA arc 8dwards> drums Lright channelA( 'easel 'alter> drums Lleft channelA( #ndre Bar+er> drums( 9as oshe> tenor saxophone. lurching and leaping under the shrill wails and scattergun blasts of 9echtern and 9as oshe. 'alter and 8dwards begin with drum textures before Tom Blancarte0s sawing. #s the music spirals higher and higher.
O==. &axophones lin+ in an unstable.t0s a nice change from the saxophone6dominated orthodoxy of free $azz.$oelfutterman. : S"-" PIA. hints of the blues. #nd the fact that one wants the )D to continue C wants more of the same. bird6flight flute.SI'I". things only get more intense as the musicians start exchanging rough screams. is in evidence. .f the 9echtern2 ose2Bar+er group is ecstatic in a $oyful sense.to the brassy clarion of 8vans0 trumpet in the ensemble passages. ". see6 sawing free $azz drone over arco bass and the circular motion of pounding drums> the contrast of repetition and ever6changing improvisation is nightmarish. to6the6heavens piping. lead to perhaps the shrillest passage on the entire record> the aural eGuivalent of white heat. and is in the order in which it was recorded. mysterious exoticisms. the half6heard voices of monstrous forces moc+ingly mimic+ing the vocalised tra$ectories of the saxophones. . . a modern sublime. Trac list! Part @ne( Part Two( Part Three Personnel! 5oel 7utterman> piano Additional (nformation! 9ecorded ay :B. honed by decades of practice and live experience. #vailable from www. rather than signaling a change of direction." 0a#el! &elf6released )D69 "elease Date! &eptember O==. 9as oshe0s flute imparts final trac+ ?The )oral 9eef0 with a dancing delicacy> swirling loops and vocalisations. 8vans0 brief declaration of what sounds li+e a ballad melody a brief throwaway. steadiness of looping melody. not less C indicates the power of this record. as he sprints the breadth of the +eyboard0s . then. though when he actually solos on ?Boo+ of the Dead0 Lseemingly with the aid of electronicsA his harsh.0ve heard in recent years. which is both one of the most varied and one of the most excitingly forceful free $azz albums . coupled with unnerving shouts and screams. 9hythmic car6horn hon+ on baritone and tenor.% 7rom the off. edge6of6the6seat stuff.. shrill. 7utterman0s improvisational Guic+6thin+ing.com The information that comes with the )D69 informs us that "each trac+ is a complete unedited first6ta+e with no overdubs. the group we hear on ?Boo+ of the Dead0 goes to some fearful places C exhilarating but terrifying. grinding woofs. drumming that undulates and flows rather than dictating too6 simple directions through the imposition of clich]d beats. .t all ends suddenly Lan editD aybe there wasn0t enough space for the whole piece one )DA. Bagpipe drone.ndeed. #D$& JOE0 $/TTE"&AN K 'RA. ta+es things further on down the route )oltrane and &anders0 were going before )oltrane died L?To Be0 from ?8xpression0A> music that borrows from other continents without losing its pulsating original force. which gains rather than loses from the association.
even if this lasts only for a moment C but also to the ability to put on the bra+es. what we have here are brief chordal . unleashing a flurry of possibilities which unfurl at such speed that they cannot Guite be ta+en in. These tonal sections which gradually creep in tend to be primarily in the $azz idiom. nor does the thought of this even arise when one hears it as part of the whole performanceA. either as a gap to be filled by more energetics. that is. the prospect of attempting to organise it as it happens will prove too much. in no way is its use parodic. as an arrangement in space which involves and demands bodily participation. more excitedly manic relish over a myriad of notes. and might perhaps lead to a +ind of shut6down in the listener0s mind C faced with such a sheer mass of sound. might be the paying of such close attention that a +ind of trance6li+e state is reached> a total involvement with energy and rhythm. and he0s careful to vary the dynamics and timings of his attac+s. the music0s ?in6the6momentness0 is actually enhanced by the freGuent returns to such material. that do not Guite conform to the pattern into which they are being slottedA. a similar. and the detail will become eradicated( an impression of something going on which shut out 'recisely $hat in a +ind of generalised inattention. or as the beginning of a Guieter. which has the feel of a pre6structured $azz composition C even if. though one rolling mid6register section almost suggests the country6raga of 3oln )oncert era 3eith 5arrett Lbut without the exaggerated melodicismA. 7utterman doesn0t see+ to total overwhelm in such a manner. . but more rewarding process. a concession to the listener overwhelmed by speed. uch of this is down to pedalling C a Guic+ press of the sustain pedal adds a different temporal and textural dimension to a traversal of the +eyboard. with two or even three directions being explored at once. Eet the use of such material is by no means a regression to ?easier0 music. the way that 7utterman uses it. though. and at great speed. confers on it the legitimacy of emotional necessity Li. 7irstly. )ombine these two approaches and you have a great level of information density. however bro+en up and fractured by ?extra0 notes Lnotes.register.n fact. to suddenly stop mid6flight and leave the silence hanging. the gravitas and delicacy with which he plays it. while the right will fly with an apparently less controlled. his darts and dips from high to low notes often phrased with a mar+ed $azz twist. rather than elongated melodies or even Guic+ refrains. the left hand will spin out a rhythm. @f course. a perception of sound as pattern and movement. &uch playing must exhausting to +eep up at full stretch for extended periods Lthough 7utterman is well capable of doing soA. @n this occasion.e. more tonal approach. volume and dissonance. The music at this early stage is characterised by the moving together and away of the two hands as independent units> for instance.
though he ruminates over them with loving care and attention. 'hy ?ris+0D 'ell. but which present no real challenge in the spirit explored by the piece of the wholeA. slowing. rising. it0s a split6second difference which nonetheless slightly alters the entire feel of what0s been played. &o. he also ma+es sure that he doesn0t simply revert to playing on $azz ballad chord changes for the next twenty minutes Lsomething which he would be very easily capable of doing very beautifully. in the form of a certain minute gradation in timing which . and. There is then a very real sense of fragility. and 7utterman has therefore to be alert to every nuance of every note which he plays. . wouldn0t Guite call hesitancy or diminishment of boldness in attac+. the contrast between the ?beauty0 of $azz ballad chords and the ?drama0 or ?aggression0 of the ?avant6garde0 material might easily create a rather facile oppositional feel. while the Guic+6paced runs can0t be sustained for ever Las a fact of the physical demands they place on the pianist C some$here there has to be a pause. these two approaches do grow out of each other C the chords contain in themselves the possibility for lac+ of resolution. as well> the constant transition between these different types of playing. the structure of the whole piece seems transformed. to ensure that none are wasted. the weight accumulated by pauses and by changes of directions. that the relationship between the two types of material becomes symbiotic. of the maintenance of a delicate balance. rather than contrasting> li+e breathing in and breathing out. #D$& . #nd perhaps that explains the record0s title. the pauses extended for maximum dramatic and emotional effect with the timing and grace we might associate in other fields with an actor or a dancer. that he neither overstates nor understates. pausing. Particularly as the piece progresses. there is always the sense that any moment he will brea+ away from them into more abrasive or exploratory registers. the one reGuired before the other can ta+e place. in fact. falling. #s one realizes that this chordal fragment $ust won0t go away. by alternations and by alterations. accelerating. Thus. which is testament to 7utterman0s self6confidence and also to his ability to lay himself and the music on the line for the sa+e of discovery and for staying true to what must be created in that moment. &o well does he negotiate this problem. though they yearn so much for it. a transitionA. for one thing. the running of ris+s to gain what could not be gained any other way. by starting and stopping. 7utterman comes bac+ again and again to a series of meltingly lovely ?ballad0 chordal progressions. the ballad material affects the more dissonant runs through the way its rhythmic structure hangs over the music.f it0s become impossible at this stage for 7utterman to play with the exuberance and unceasing rhythmic force of the opening. 9ather.s+etches and patterns which aren0t Guite fully6fledged ?compositions0 as such.
stretched even further than iles himself dared.s &+ull into Gold( 'e 8ngage the onstrous with @ur irrors( 'e 7ly Beneath and #bove the 7lux( 'e &leep in a 9abbit 4ole. it stops. only for clarinetist de Dionysio to sGuea+ things bac+ into motion C an endlessly tense and teasing process which must play havoc with applause6ready club audiences. what you willA with fantastically bad manners> it starts. Trac list! 'e Binge on a Bloodthirsty God( 'e Boil the 9aven. contralto clarinet( Thollem cDonas> piano( 5ohn /ie+rasz> drums( Gregg &+loff> amplified upright bass Gigantomachia deliver free $azz Lor free improvisation. 'e Binge @n a Bloodthirsty God( 'e Boil the 9aven0s &+ull . it roars. it leaves inordinate long silences where it seems that the trac+ must have come to an end.%(%ANTO&ACE(A K '( . so that the soloist was suddenly left totally out on their ownA.nto Gold Personnel! #rrington de Dionyso> bass clarinet. an extension of the +ind of textural games iles Davis played in his :.A0 D F)')R 0a#el! 8&P Dis+ "elease Date! O==. The amplified bass is played so hard that it sets off .<=s groups Lin which he would cut out all but one member of the band with hand signals.
blaring over and egging on the collective fury of the band and. must go to de Dionysio0s instrumental prowess( while most bass clarinettists wor+ing in this area of the music have carried on from where 8ric Dolphy left off. which can be heard as a +ind of involuntary rhythmic accompaniment( the piano playing is tremendously exhilarating when at its most gleefully. and in the occasional hints of a wal+ing bass Lwhich might $ust be auditory hallucinations after yet another stop6start assaultAA. in some way spontaneously shaping these collective improvisations as the band0s leaderA. all6 over &unny6 urray sound6wavesA. de Dionysio0s playing on this disc is perhaps the most vigorous and elemental . rear its head in a few piano phrases now and again. then.0ve heard in Guite a while. occasionally. #D$& . &pecial mention. tightrope6wal+ duos with &+loff0s arco bass that unsettle as much as they represent any sort of ?calm0. it also has a sense of control and even of manipulation Lperhaps down to de Dionysio0s role as ?musical director0. This. too. rather than the boundary6 pushers of the moment. smashing clusters.n addition. engaging in breathy. is a genuinely fresh recording> music with real spirit and bite. however. though also with an odd obsessive Guality also shared by de Dionysio Lfor instance.reverberations from the snare. wholly inspiring and inspired. as in the !atin vamp on the third piece. it becomes unexpected by dint of its rarityA( this may in large part be due to the way drummer /ie+rasz always loo+s to avoid the expected and tested paths there to tempt all percussionists L$azz time6+eeping. smears of sound with no regard for subtlety in that moment. playing a !atin hoo+ for well over half of the third piece while the rest of the band dances free time around itA. . but ta+es things even further out from the realms of $azz Lwhich does. learn. it possesses all the rawness of their original B=s recordings. now the classics from which de #nysio and co. . propelling themselves into ever more raucous and athletic displays.t all has a sound to it which is some way very different to a lot of other free $azz bands( entirely appropriate to the new vision of 8&P. wholly deranged. pun+ roc+ emphatic mechanics. 8ven the pun+ and roc+ musics which David 3eenan mentions in his enthusiastic and wholly appropriate liner notes don0t seem Guite relevant( for though this music is hard and raw and aggressive as hell. you can rely on the band never to do the expected thing Lwhen they do.
. flute.(% . arranger( Bruce 'illiams> alto saxophone. trumpet. Garvey.C 0a#el! 8mercy "elease Date! O==.AND K . reeds( Gerald )layton> pi6 ano."O* EA"%"OFE . Garvey( y 7unny 1alentine( ambo for 9oy( 9e6 Guiem( &eptember .n the 9ain(8very Time 'e &ay Goodbye( !a Puerta( 9oy #llan( Tschpiso( Trust. arranger( &aul 9ubin> guitar( Danton Boller> bass( ontez )oleman> drums( 9oberta Gambarini> vocals. R$ . Personnel! 9oy 4argrove> leader. flute( 5ustin 9obin6 son> alto saxophone. vocal( 7ran+ Greene> trumpet and flugelhorn( Greg Gisbert. s. Trac list! 1elera( s. flute( /orbert &tachel> tenor saxophone. flute( 3eith !oftis> tenor saxophone. fluegelhorn. composer. flute( 5ason arshall> baritone saxophone. > trumpet and flugelhorn( Darren Barrett> trumpet and flugelhorn( #mbrose #+inmisure> trumpet and flugelhorn( 5ason 5ac+son> trombone( 1incent )handler> trombone( &aunders &ermons> trombone( ax &iegel> bass trombone. arranger.
romantic strings and the pop6fun+ of 94 7actor.P. which has been in existence since :.P=0s. by 9oy 4argrove with others such as 7ran+ !acey Lwho contributes the modal wor+out of "9eGuiem%A and up6and6coming pianist Gerald )layton who is himself the son of arranger 2 bassist2 big band leader 5ohn. The leader sings on this trac+ after of good deal of your typical big band fair and the band re6 spond in +ind to 4argrove0s efforts in scat in the album0s most fun trac+.% ost of the arrange6 ments are.t is probably a reasonable assessment to say that this is an ex6 tremely mainstream offering and it is fair to say that there is much on this record to please those who have grown up with more orthodox bands such as )ount Basie0s. hear it. This one trac+ offers ample proof as to why some critics in the &tates are considering her to be even more technically accom6 plished than 8lla 7itzgerald. . her second feature "!a Puerta% which recalls the nostalgic music of the Buena 1ista &ocial )lub albeit with considerably more bite and snap is even better and another highlight on this album. it ma+es you want to punch the air in delight. !atin. Thad 5ones 2 el !ewis L" s Garvey. Personally. The piece then ends with a montouno and an ensemble riff C all told this is $ust about the most exciting couple of minutes of mu6 sic . with the obvious exception of the ballads. . a proper singer is fortunately on hand in the form of the wonderful .This is the first recording by 9oy 4argrove0s big band. . @ver the years the trumpeter has produced an eclectic variety of records including hard bop. Dizzy would have approved. This )D by his :. . This vocal performance is perfection. "&eptember in the rain% opens with 4argrove0s muted trumpet and sound very much li+e it was written in the :. s Garvey%A or even Dizzy Gillespie on the humorous rendition of "&eptember in the rain. in fact.% There is even a nod to )het Ba+er on " y funny valentine. would have to agree with this consensus. thin+ that this is something very much in its favour for.talian vocalist 9oberta Gambarini who delivers an impressive "8very time we say goodbye% bac+ed by &aul 9ubin0s gentle chart that intriguingly mutates into _ halfway through. have heard put down on record all year. 4owever. #lthough 4argrove may not be amongst the best of his fellow trumpeters in handling the vocals. most of these trac+s swing li+e crazy.. piece big band is sim6 ilarly no less wide ranging with the arrangements at times ma+ing the band sound li+e fellow trumpeter0s Tom 4arrell0s orchestra on the open6 ing "1elera% with others bring in mind such diverse groups as )harles Tolliver. . particularly li+e " ambo for 9oy% which builds up a formidable head of !atin steam with some nice flute and pi6 ano before coming to a conclusion with a thundering cadenza from Ger6 ald )layton after which the band bursts in with a loud tutti and 4argrove unleashing a tumultuous brea+ underpinned with odd punctuations from the drums. 8very time .
The music is very varied. The following "Tschpiso% again pushes the music into a more contemporary feel and concludes with a riff that culminates in yet another exciting crescendo before returning to the main theme. The album concludes with the gentle "Trust. . 9ubin0s 'es ontgomery influenced guitar. #Ian 'h%mwood& F(F(ANE EO/0E K 'R I1 . thin+ the band is terrific and the arrangements offer a contrasting programme that will appeal to most tastes. @n top of this. it is difficult to reign in my enthusiasm for this record.% #ll told. there are some brilliant solos and the band creates much genuine excitement as opposed to simply running down some charts in the studio. . in my opinion."9oy #llan% offers another approach to !atin music but this time refracted very much through a contemporary $azz lens and features the aforementioned r. this chart is not too dissimil6 ar to the +ind of music played by Tom 4arrell albeit several notches higher in the excitement sta+es. &o far. This is a record that seems to get better and better with every listen. There is some terrific unaccompanied section wor+ in this 4argrove chart where the level of energy that is built up is pretty staggering. can0t recommend "8mer6 gence% strongly enough. this is the best new )D of O==. the appearance of 9oberta Gambarini is the icing on the ca+e. #gain.
wordless. it doesn0t really matter. and 4oule could be forgiven for showing off what she can do with her voice. using ?non6standard techniGues0 C such a style comes across at both its most rigorous and its most disturbing2 emotionally arresting. li+e the voices of Phil inton and aggie /icols. a debut. where drummer 3enton !oewen begins with high6pitched scrapes that treat his +it as texture rather than rhythm Las on &ean eehan0s duo album with &achi+o A. or the fourth trac+. dar+ ambient style trac+A( . preferring to unleash hag cac+les.t0s /ot the oon( Betters and Bads( 7inely Tuned is y 4eart( #u 9evas( # !ittle &torm( Bells 4ung in a Tree( &ong not for Eou( )urve Personnel! 1iviane 4oule> vocals and texts. with )lyde 9eed0s acoustic bassA. before pic+ing up on a nervous. in any case. rather than in. sung6spo+en parodies of dialogue. melancholic Guality to it li+e a less $azzy version of Patty 'aters Lthe eleventh trac+. she combines elements of the latter approach as well( given that she duets with such a wide range of musicians and instruments on the album. sometimes delivered as a +ind of improvised. suppose . this album might have come across as something of a showcase C it is. would say that 4oule0s voice. an ability for textural adaptation is a must. . 'hen she0s paired with a musician who adopts a similar approach C focussing in on a particular range of sonic details.0a#el! Drip #udio "elease Date! @ctober O==. and. she stays away from anything resembling conventional song mode. where the ?song6li+e0 cello sings out in a much more forceful and less elegant way than one might expect from classical repertoire. after all. #nother danger might have been a lac+ of unity.0m pleased to . whose voices undoubtedly have an impact intense enough to be called ?dramatic0. given the variety of accompanists. as they provide an atmospheric Guality without dominating at the expense of musical interaction. sometimes Guietly spo+en as poetry.A( 5eff Eounger> guitar L:=A( )lyde 9eed> bass L::A( Brent Bel+e> guitar L:OA( &tefan ¨ovitz> +enaxis L:JA . Trac list! andra+e( olehills umps( Paperthin( Gratte6 oi !e Dos( Yuiet 8yes( . Generally. sung meditation with an inward6loo+ing. but whose concern seems primarily textural. . is essentially dramatic. with cellist Peggy !ee. /onetheless. # few of the trac+s have ?lyrics0.n some ways. with( Peggy !ee> cello L:A( !isa iller> piano LOA( )oat )oo+e> saxophone LJA( 3enton !oewen> drums LUA( 9on &amworth> guitar LPA( )hris Gestrin> analog +eyboards and live sampling LBA( 5esse Tubot> violin L<A( 5eremy Ber+man> trombone LQA( Paul Plimley> piano L. and stretched moans from the bac+ of the throat.0m not sure whether these were live effects or added at the post6production stage. in contrast to -te 'assermann or #mi Eoshida. rhythm. 4oule0s voice is also treated with echo and some other electronic means Las on the final. insect6li+e Guality to 4oule0s vocals as they dance round. 7or instance> the opening piece.
flic+ering rhythm and crac+le. +langs. to be heard. at all costs intending to further brute instincts even if under veneers of ?growth0. tapes. but an ongoing construction which creates itself anew each time it is played( a series of fortunate events. both as antidote to and as part of the problem( both the balm and the wound. 'hat emerges is not. it would be better to talk about overlapping spheres of activity (spheres might also be the form taken by the shapes in sound that Nakamura makes. li+e a sculpture. 5uxtapositions between trac+s are sometimes so seamless that one can barely tell one trac+ has ended and another begun. organising and shaping the sound. that both traps are successfully negotiated> there is variety. $azz6tinged duet with )lyde 9eed gives way to Brent Bel+e0s grungy avant6roc+ guitar and 4oule comes out screaming. ambient. pipelines. screams. the ?organic0 flow of oil and blood and armed men in coffins. something you can step bac+ and see as a whole. to embrace the sounds of other genres> $azz. percussion. but there0s also a careful. to be healed.report. if they were translated visually) . radio staticA. though. in a manner that0s not at all self6 conscious or superficial.n 3rebs0 hands and in /a+amura0s hands music6ma+ing 1 I use words like Event. This alien voices the ne$ song then. but also willing. #D$A ANNETE K"E. 8ven the tape fragments of disembodied human voice become alien. Transition. . mixing board. ob$ects( Toshimaru /a+amuru> no6input mixing board @f the two musicians. each melding into the next so you0d be hard6pressed to say where one ended and another began. it0s a fine piece of wor+ from an artist clearly dedicated to free improvisation. 3rebs produces the greater variety of textures Lscrunches. and sometimes audaciously abrasive and noticeableC as when the Guiet. 4ere we have mastery of transition: C though that phrase implies a more nicely. splitting. clic+s. if lop6sided sense of ?plot0 to the record La plot dictated more by the ever6changing emotional response to stimuli than by any mechanical impositionA. in this. maybe. roc+. Eet no more alien than a society technologized for war. the electronic world0s intrusion into the comfort zone. fragments of speed6up tape. ?sophistication0. #ll in all. electronic. ?progress0. &uch structure is simply not what the listener0s ear will experience when faced with fifty minutes of very high sine tones and spluttering. but the fading and swelling of /a+amaru0s unadorned sine tones is essential in creating the dynamics of the music. and 4oule does do a lot of different things with her voice.SI TOSE(&A"/ NAKA&/"A K SI+) 0a#el! &o&editions "elease Date! O==Q Trac list! 'rr( Bsb Personnel! #nnette 3rebs> guitar. screens. however. precisely ordered structural edifice than ?&iyu0 offers. streets.
?&iyu0 is supremely well6executed Lwhat6ever ?well0 means. #D$& TEE PE%%* 0EE . @f course.AND K . flugelhorn( 5on Bentley> tenor saxophone( 5eremy Ber+man> trombone( Peggy !ee> cello( 9on &amworth. in its own realm. this O==Q release is similar to the Tony 'ilson &extet0s ?The People !oo+ !i+e 7lowers #t !ast0 Lanother all6)anadian album released . Tony 'ilson> electric and acoustic guitars( #ndre !achance> electric bass( Dylan van der &chyff> drums /ot exactly free $azz Lthough there are three freely improvised piecesA. then. * C"D 0a#el! Drip #udio "elease Date! O==Q Trac listing! #ll .involving listening. being. swift blow of the axe C without a hint of rust.A 4ere. That0s more music to me than what is well6executed Lexecuted with the clean. 9eally 'ant to Do( Preparations( @ffshoot :( /ot a 'a+e -p )all( 7loating .sland( @ffshoot O( &cribble Town( Tug( @ffshoot J( 'al+ e Through( &hifting Tide( !ost in the &tars Personnel! Brad Turner> trumpet. is what this well springs. or of the blood that0s swept away Ldeath without the body( the blan+ neatness of the controlled endingAA. reacting.becomes an act.
it0s clear both that such reverence is not misplaced.ndeed. a simple three6note melody Lvery similar to one which appears on the recent album by one of the guitarists on this . The show6 tune melody of 3urt 'eill0s ?!ost in the &tars0. is treated with what at first seems li+e a rather undue reverence( as the trac+ builds. volumes rise and textures thic+en.sland0. directed towards emotional climaxes. their ability to imperceptibly switch gears and build up a fine head of steam from originally Guiet foundations. the compositional aspect isn0t ?restrictive0 in the slightest( richly harmonized melodies give way to sections where it0s the responsibility of the individual players to sustain and expand on the texture that0s been established. Both the Dylan and the 'eill. though some rather nifty voicings for the horns and a nice little countermelody bolster it up a little. ?/ew )ode0 opens and closes with pieces representative of its general intentions. 'ant to Do0 comes across as $oyfully bubbling and flowing( the simple melody isn0t altered too much. while emphatic rhythms and repetitive riffs provide the transitional anchor between ?themes0 and ?solos0. leave plenty of space for improvisation. and also that it0s not really reverence. The effect in this particular instance is a little similar to @tomo Eoshihide0s ?Theme from )anary0. ?Preparations0 follows the opening Dylan cover. then. snarling fuzz guitar guitar solo of ?/ot a 'a+e -p )all0 to the harmonically ambiguous but serene guitar riff which lies under the swooning and rather sad horn melodies of ?7ading . with high scribbling cello. #fter a rather hesitant improvised opening.on Drip #udioA. it0s a confidence in treating treat pre6existing compositional material with an improvisational freshness and verve. wauling trombone and guitars that suddenly vault from the brin+ of atonality into a country6flavoured riff that smoothly ushers in the fade bac+ to the original melody. at nearly nine minutes. which sounds rather li+e treading water until the ?trac+ proper0 gets under way. meanwhile. as they transition smoothly Lvia a frantic fading loopA from the noisy. 8lsewhere. the process is reversed. so that things never feel merely schematic L?we0ve played the head now. # record of original compositions by band6leader Peggy !ee. babbling trumpet. Bob Dylan0s ?#ll . while maintaining a +een sense of ensemble arrangement and an ever6present clarity of structure. . though it doesn0t build to Guite such splendidly passionate heights Lpartly given that it0s so much shorter> most of the trac+s on this record don0t average much more than five minutes eachA. and improvisations by various members of the group. but once the solos come in. are testament to this band0s fine sense of climax. 9ather. the longest trac+ on the album. and the melody repeats in hymn6li+e unison over Dylan van der &chyff0s ecstatically crashing drums. let0s get on and blow0A. though. in that its carefully structured arrangements. and is.
#nother ?@ffshoot0 finds the duo of !ee and trumpeter Brad Turner opening with subdued complementary melodic lines( as these naturally spiral into denser and then more bro+en realms. things fading out in a way that prepares ground for the third and final ?@ffshoot0. !ee abandons smooth arco playing for crac+ling. ?&hifting Tide0 again builds slowly. lingering on a high register melody as if to resist it only to throw himself bac+ into tonguing. as part of a pric+ly texture created by 9on &amworth0s hard6edged pluc+ing and grinding and van der &chyff0s steel6$awed repetitions. @riental6style high notes which continue to sing out as Brad Turner guides the slowly unfolding melody along its way. bowing sweet. rolls and crashes. ?'al+ e Through0 finds !ee solo for the first time. &ome unexpected but delightful Gil 8vans6flavoured thematic material closes the piece in fine ?&+etches of &pain0 fashion. Dylan van der &chyff egging everyone on with cymbal flourishes. Bentley0s initial melodic probes falling into a suggestion of 5ohn )oltrane0s ?'elcome0 but Guic+ly shying away and treading a subdued rhapsodic path. and they are perhaps the disc highlights. The first of three ?@ffshoots0 C short improvisations for smaller groupings of the various band members C is a good opportunity to hear 5eremy Ber+man0s woozily smeared trombone. Tony 'ilsonA allows the band to build up a great head of steam. to close what is a very satisfying album.t0s a panic which possesses 5on Bentley0s tenor sax as he ta+es the trac+0s only solo. complemented by !achance0s unobtrusive prodding and 'ilson0s high6pitched crac+les. #nd then the reverent serenity of the previously discussed 3urt 'eill piece. over another texture which gradually builds in rhythmic insistence and volume. ?By yself. their playing has a passionate flow which characterizes the disc C !ee0s cello threads its way through trumpet. where Bentley0s almost 8van6Par+er6li+e saxophone engages in inGuisitive melodic bursts that are at first Guietly melodic and gradually wind down to a more hushed uncertainty. with brutal twin guitar under a melody whose constant repetitions drive things to panic in a manner which would ma+e Bernard 4ermann proud. ?/ot a 'a+e -p )all0 and ?7loating . allowing Brad Turner to lay down a rather more mellow $azz solo over less distorted guitars. over a Guietly insistent bac+ground riff. The emotional atmosphere remains fraught on ?Tug0 Lit stri+es me that !ee could write a fine film6noir score if she so desiredA( as if to arrest this. physically immediate pluc+ing and strumming approach that puts me in mind of #bdul 'adud0s fine solo recording from. saxophone and trombone melodies and countermelodies.date. 'ith space to stretch out. #D$& . with !ee0s held notes easing out behind. .0ve already discussed. a secondary rhythmic figure becomes the primary focus. multiphonics and sped6up $azz frenzies. The original melody returns.sland0 . full of soft tongued flurries.0 ?&cribble Town0 sets out its intentions from the outset.
DAFE &E"SON EESS K .)SIC FR". '(
FI-. 2PR S ,C 3
0a#el! 4eadphonica "elease Date! O==; Trac list! @nomatopoeia( Didn0t -sed to Be This 'ay( . !i+e Dogs( 'hat is .ts 1essellD( Blur and Bleed( 4aunted 3id( !i+e Dominoes( 7riendsF4ome( &ubway &leep( 7ishmerna( !ove Theme .ntro( !ove Theme( &tatic24eadtrop2Tin+ly Piano( Drive( )aught in a 7ingerprint( Presence Theme( Drive @utta+e Personnel! Dave erson64ess> ellotron, oog and other analog synthesizers, 1&T emulations, organ drones, vibraphone, heavily delayed drums, and electric guitar
The experience of listening to a film soundtrac+ tends to be one that falls slightly outside the usual remits, as what one hears follows the logic of what unfolds on screen rather than considerations relating to the organisation and development of a record. Thus, we hear the same theme, or themes, recurring throughout, in different arrangements, from different angles( the actual amount of original melodic material is Guite slight, with much of the music0s complexity occurring through the intricacy and variety of the variations spun upon it. .n the case of Dave erson64ess0 score for the independent sci6fi2horror movie ?Presence0, even strong and definable melody as such is not the main criterion( rather, .0m reminded of Brian 8no0s comment that texture and
atmosphere now ta+es predominance over melody in contemporary pop music. The cues here are driven along by various beats which provide a sense of forward6momentum, while also underlining a sense of essential stasis, of going round in circles, that resembles the trapped situation of the film0s lone protagonist. Time as an important theme is introduced in the opening number, ?@nomatopeia0, where what sounds li+e an electronic version of a speeded6up heartbeat combines with sounds that evo+e sirens and the low, throbbing hum of engines in an eerie blurring of the human and the machine. The trac+ sounds purposeful Cgiven that we associate a pulse with the ongoing ?presence0 of life, and thin+ of machines as fulfilling some sort of continuing purpose C but is actually going nowhere, the siren sounds continuing onto the next piece as if it were all part of the same continuum. # sense of dread hovers over most of the trac+s C most palpably on the grinding electric guitars of ?Drive0, but even on the ?!ove Theme0, in which electronic organ sounds and throbbing electronics seem stuc+ in a minimalist loop that soon fades into a whirr of ghost6voiced static. This is then, in many ways, a blea+ listen, the open6ended nature of its sounds reflecting the empty spaces and slow6paced, dream6li+e Guality of the film it accompanies> spaced6 out and often rather melancholy Lthe final two trac+s in particularA, its purpose is to underline a certain set of moods rather than to set a definite direction. 8ven if one hasn0t seen the film, the images triggered in one0s head will ma+e a movie of their own, full of the images and only half6registered thoughts that drift around one0s head in those uncertain, semi6conscious moments before sleep. #D$& &(&ES*S K .I. S+S
0a#el! Deadalus 9ecords "elease Date! December O==B Trac list! mimesys :6Q Personnel! -go Boscain> alto and contrabass clarinet(
ichele &panghero> double bass
4ere we have a disc of mesmerizing duo improvisations by double6 bassist ichele &panghero and contra6bass clarinetist -go Boscain. 9ather than the woody, sonorous dar+ness of the 8ric Dolphy29ichard Davis duets, what we often hear is the sound of two instruments being pushed above their ?normal0 range, howling clarinet and wrenching bass harmonics swirling and echoing round each other in continuous eddies or almost static, hovering suspensions. The effect is particularly eerie on the seventh trac+, Boscain0s high multiphonics and deep Guac+s combining with &panghero0s slow bowing motions to mess with one0s perception of sound6space in a way that normally only electronic music can. There0s also a lovely moment five minutes into the second trac+ where &panghero starts to tentatively pluc+ out a $azzy melody reminiscent of ?.t Don0t ean a Thing if it ain0t got that &wing0 before
things imperceptibly sweep up to hoarse clarinet bar+s and rasping repeated arco bass figures. .t0s not exactly a moment of light relief or even of particular contrast Lit0s a very brief moment of idiomatic playingA, but, by standing out as it does, it illustrates $ust how focused these two musicians are on a particular area of sonic enGuiry C not that their music is by any means monochromatic, but that it lulls and troubles into a state of meditation where the heart beats slower, the breathing becomes more measured, the mind at once more active in its perceptions of minute details and more restful in its focus on a specific activity and ambience. #D$& JOE &O""(S K C"-"RFI -D
0a#el! 8&P6Dis+ "elease Date! O==; Trac listing! Transparent( &ilver &un( Purple Distant( Blue @range )urves Personnel! 5oe orris> guitar( &teve !antner> piano( !uther Gray> drums
5oe orris0 latest is an improvised trio recording, and the line6up Lguitar, piano, drumsA, combined with orris0 +nown proclivities towards a clean guitar tone and a linear LmelodicA approach, suggest that we might expect some ?chamber $azz.0 .n some ways this would be right( the music, though by no means harmonically straight6forward or changes based, is not bitingly atonal, and the textures are characterized by an
high energy. at least. generally the feel is not of accompaniment but of togetherness. Tempos are generally fast. about avoiding meandering and smearing. as the closeness of melodic interaction creates a collective feel. the trio0s approach leads them to wider areas and greater discoveries than a more simplistic feed6bac+ drenched approach would.A !uther Gray0s drums in that sense are the closest to being the odd one out.absence of the harsh sonorities often associated with ?free0 guitar playing. Perhaps that metaphor0s too goal6oriented( rather. a more tautly rhythmic approach. the melodic reflexes of both players so finely tuned that at certain points their lines intersect and overlap in a way which ma+es them Guite hard to tell apart( a relationship in which both pursue independent courses. or if !antner retreats into the bac+ground somewhat at certain points. this does it a disservice( the music by no means lac+s inGuisitiveness and a sense of exploration. no matter where they end up. ?)olorfield0 is all about the notes that are played. indeed. restricted. orris0 liner notes say it0s melodic playing that0s emphasized. opening with !antner0s vaguely essiaen6flavoured piano chords. and that0s true( but this doesn0t conflict with the ?colorfield0 metaphor.0 in orthodox $azz terminology C there0s no saxophonist or trumpeter to automatically impose themselves into a lead role. avoiding the free drummer0s usual reliance on cymbals for more tapping. orris plays around with figures that come across li+e s+ew6wiff $azz comping. about building up an overall texture from the interaction of small details. . as they can0t exploit the same harmonic resources and colouristic palette of guitar and piano( so he tends to +eep things tight. and gradually extrapolating from their in6built intensity. but not super6fast.f. This can be heard most explicitly on the brief drum solos he ta+es on the final two trac+s. about having something to say when you play. LThis may be partly due to the fact that the trio is what would be described as a ?rhythm section. while the concluding piece is the fastest. Eet ?chamber $azz0 also suggests a certain ?politeness0 C or. but in which both are heading in the same general direction. they ta+e different lines for wal+s along the same course. and. an unruffled professionalism which might be used to describe orris0 approach with some accuracy Lperhaps by those less disposed to admire his wor+A. !antner playing clusters and runs at the beginning in a way which . free $azz style( the penultimate trac+ is the slowest. 4owever. at a certain point. where he explores small areas of rhythmic and timbral detail to an effect that0s not exactly hypnotic but is deeply absorbing. !antner and orris really exploit the overlap between guitar and piano.
bagpipes( 4enry Grimes> bass. though. concentrated and worthy of repeated listenings. The musicians 'lay their li. this is serious music. and as such implies that this music is some sort of summation of the lives0 wor+ of each of these three vastly experienced musicians. for it actually it tells us something about the music itself. Trac list! This 'ay. #s ever with orris. that is doing something for a purpose. Please( )all Paul( 'hirligging( Beyonder( 7uturity Personnel! #ndrew )yrille> drums( Paul Dunmall> tenor sax. and the attitude that goes into its creation. violin Additional (nformation! 9ecorded in concert at the 1ision 7estival. #D$& P"O$O/ND SO/ND T"(O K "P)S D -IF 0a#el! Porter 9ecords "elease Date! O==. then.es as well as $ust . as a contribution to a human situation Lwhile at the same time escaping the chec+list6 tic+ing attitude that ensnares human creativity and the ability to grow and develop in the worldA. ?@pus de !ife0 might be translated as ?!ife0s 'or+0.ma+es one realize how subtly melodic his playing has been elsewhere. 5une :Uth O==Q. This might seem to be rather a clich]( in fact. rather than a generalized splash. it is more than this. There is a balance between the notion of ?wor+0 LopusA and the notion of ?playing0> the $oy of spontaneous discovery and the ability to move wherever one pleases is coupled to the sense of responsibility imparted by ma+ing a music that is "as serious as your life. how his clusters are unobtrusive and played with a mind towards harmonic openness and detail.% that is $ork in a real sense.
and not only in the sense that the recording of the performance will be listened to in many places and situations around the world. where elements of the dance emerge in what the trac+ title accurately describes as ?'hirligging0 C a +ind of perpetual motion. sensitivity. we can say with )harles ingus that. never feels li+e he is showing off( by reducing volume and concentrating on $ust a few items of his +it at certain points. sometimes apparently divergent. a music with a life of its own. Grimes. exhilaration. Particularly when combined with Dunmall0s bagpipes. $udging what one does in relation to how it impacts on others. as a mode of creative expression. 1 !hanks to "oel #utterman for providing me with this $uotation . what comes out above all from this recording is the sense of $oy. combines his unflagging energy on the bass with a wonderfully free. we need more of in this world. he gives a breathing space in the texture for different timbres. but also that the interactions occurring here demonstrate a +ind of human relation which.: 8very time that )yrille. Because of this. of life force and life wor+ that goes into and comes out of playing. 'hat exactly is the content of a music with such attributesD Dunmall is clearly coming out of the post6)oltrane tradition( he blows hard and fast. that in this vast networ+ many lives will be touched( not only all these things. despite the freGuent assertion that free $azz is an ?angry music0. )o6operation. we are lifted into an entirely new and surprising space. creating out of the interaction of three musical personalities a fourth entity. )yrille never feels li+e he is giving a drum masterclass or display. but with sensitivity. fol+6influenced style on violin that is an entirely new sound in the $azz world. going with the flow of the music. Perhaps too. their music hints at future potential. leaving space and letting new sections develop from the old. as well as encapsulating past and present in a succession of unfolding flows of sounds and ideas. participating in a collective texture which incorporates individual lines of argument. different sounds to be heard. sometimes perfectly complementary. that shaped them and that shaped their music. #t one point his tone is so raspingly harsh that the audience is driven on to spontaneous cheers C though. future development C not only in the sense that the Profound &ound Trio will go on to play another gig.playing music( and they also play the lives of all those who have contributed to the growth of $azz as an art form. Dunmall and Grimes play. and that each individual musician will play again in any number of different contexts. "if you want to escape reality. they play the material that shapes their lives both at that moment and in all the moments that led up to it. god +nows. meanwhile. a spinning intertwining of voices and rhythms. dropping in and out. you better leave% before the musicians start playing.
0ll Ta+e )are @f Eou( Being Blessed . but an actual outpouring of than+s and appreciation for the way the music has moved them. #D$& %(0 SCOTTCEE"ON K I3. . not $ust a passive recipient of it( when they clap after a solo or a particularly impressive passage.spiralling arcs of melody climbing over and under each other.nterludeA( . * ( R 0a#el! N! 9ecordings "elease Date! 7ebruary O=:= Trac list! @n )oming 7rom a Bro+en 4ome LPart :A( e #nd The Devil( . The captivating nature of such $oyous and often frenetic forms spurs on the audience to become a participant in the music.0m /ew 4ere( Eour &oul #nd ine( Parents L. this is not $ust the automatic response triggered by the concert situation Las it might be on a classical recordingA.
re6invigorated artist. as it . Tiona 4all. as his voice $as Guite mellifluous before.0ve Been e L. Ees.nterludeA( 9unning( The )rutch( . #nd so the comparisons begin almost as soon as we press play. additional vocals Ltrac+ :=A( ichelle 4utcherson. Ees.0m /ew 4ere0 to cover( in the original. whatever the critics may say about missed opportunities. not to have to ma+e another statement if he does not wish to( his position is assured. recurring chorusA. singing only the short. But. Ees. as listeners. 7irst off. if we can help it. all this has happened C and the record0s title suggests a very specific engagement with the notion that 4eron is a Guote6unGuote ma$or artist who must add to his legacy. ?godfather of rap0. 4eron spea+s most of the words. has made intermittent public appearances but been generally been shrouded in rumours of ill6health and personal brea+down.nterludeA( @n )oming 7rom a Bro+en 4ome LPart OA Personnel! Gil &cott64eron> vocals( Damon #lbarn> +eyboards Ltrac+ OA( Pat &ullivan> acoustic guitar Ltrac+ JA( )hristiana !iberis. after we get past the spo+en6word of the opening trac+. ight it suggest that 4eron is a new man. this may have necessitated a stylistic change.s 3illing e( )ertain Things L. and seems to have become an accentuation of Dylan0s famously less than smooth vocal stylings Lalbeit one so extreme that its burden must be borne by his status as a ?living legend0 fondly canonised by both a generation of fading hippies and Professor )hristopher 9ic+sA. coming out of hard times with his head held high once moreD #nd would that mean a return to the 4eron of the old days. must $ustify his absence with another classic. :JA( 3im 5ordan> piano Ltrac+ BA. in 4eron0s case. spo+en reflection. we0ll notice that 4eron sounds less comfortable singing now Lperhaps explaining the choice of &mog0s neo6fol+ acoustic number ?. starting over $ust as strong but in a different placeD These are all Guestions that 4eron does not need to answer> he has done enough. synthesizer Ltrac+ :=A( 9ichard 9ussell> production Gil &cott64eron> vocals( Pat &ullivan> acoustic guitar( 9ichard 9ussell> production !et0s not tal+ about the release of this new album as an ?event0.nterludeA( 'here Did The /ight Go( .. 4is voice is now partially possessed of the ?lived6in0 croa+ that characterises latter6day Dylan and Tom 'aits. must teach us all once again. i+e Bloc+. -na Tone> strings Ltrac+s U.U0s ?&pirits0. Gil &cott64eron. as critics.L. B. 'as Guided L. reborn. has had plans for recordings and for boo+s planned and then postponed. Tyria &to+es> bac+ground vocals Ltrac+ :=A( )hris )unningham> guitar. we cannot help but ma+e them C we cannot pretend to listen in a vacuum. has not recorded an album since :. and here. ary 5o &tilp. he has been in and out of prison. a hugely important voice in bringing socially6conscious messages to both blac+ and white youth.nterludeA( /ew Eor+ . or would it mean a re6invented. Bill )allahan0s sung voice was always on the brin+ of shading over into laconic. Though that has always been part of 'aits0 cigarettes6and6alcohol mystiGue.
and imagesA. 9ichard Dedeaux. @tis @0&olomon. a chastened 4eron0s reaction to years of silence through addiction and imprisonment. he can self6reflect. one must remember that spo+en word is how 4eron started off in the first place C his debut record announced him as ?# /ew Blac+ Poet0.t will be interesting to hear what material 4eron tac+les in his upcoming live shows C one would have thought that a record li+e this wouldn0t really be feasible as a stage show. !arry /eal. as a movement. Thus. away from the simplicity of oft6repeated clich]s. This may result as much as anything from the ominous sound of the music> its samples and murmurs. 7ather #mde 4amilton.nstead. such a reduction C to a list of names C would mitigate the approach that all these artists shared. particularly as time went on.0m /ew 4ere0 is a ?personal0 record. 5alal ansur /uriddin. his absence from the scene perhaps mitigates against his effectiveness as the wise elder C having passed on the mantle. @f course. and a return to the $azz2soul instrumental styling would seem li+ely. rather than about soapbox sermonising or political platitudinising divorced from the thoughts and feelings. the imposed or unwitting failures. 5ayne )ortez. what seems a more imaginatively exaggerated world emerges. catchphrases. the wide6ranging sub$ect matter and the urgent desire to spea+ political realities meant that he was soon aligned with the poet6 teachers of the :. Despite the apparently low6+ey title of that record L?&mall6Tal+ at :OPth and !enox0A. but with the specifics of political concern not voiced e"'licitly. it0s worth noting that the material which made his name was precisely defined by its absence of sloganeering Lthis is the narrative of ?The 9evolution 'ill /ot Be Televised0 C moving revolution. and. while 4eron.A But. then advising the hip6hop artists who followed in his wa+e to ta+e more account of their social responsibility. while all the reviews will focus on the fact that ?. L. -mar Bin 4assan. #biodun @yewole. . as potential teachers of. and voices for their generationA. one that was about ?the revolution of everyday life0. given all this. its hisses and whirrs are a world away from the soul6drenched piano chords and $azz bass of the more . the insults and in$uries. /onetheless. and by its focus on the inseparability of the personal and the political Lthin+ of the way the narrative of blac+ poverty and institutional callousness in ?Pieces of a an0 is filtered through a sentiment of personal and private griefA. did ta+e on the position of spo+esman Lshouting out against the 9eagan era. and it is as poet as much as singer that he appears here.<=s #frican6#merican urban experience> 5une 5ordan. in a manner of course still tied to the forces that shaped him. #miri Bara+a.can0t Guite carry the righteous soul style. yes too. the $oys that occupied every minute of every day for vast numbers of ordinary people.
and C crucially C part of the complexity of the traditions formed over centuries by #frican6#mericans reacting to their transplantation and subseGuent isolation in ?the land of the free0.0m /ew 4ere0. though the references to )haron and to &atan. whimsical delicacy of white fol+6tradition in the latter. . the production ta+es account of it. to emphasize rather than to hide. This turns out to mean that we have here a stri+ing generic difference to previous &cott64eron albums. to the minimal. bac+ to the roots with 9obert 5ohnson0s ? e and the Devil0. however. elsewhere. Given further reflection. and. but perhaps more ?honest0. often ambiguously. it is the classic themes of the blues that are returned to> the old theme of urban decay as contrasted against the simplicity of a poor. dramatically strident position doesn0t so much seal their differences as emphasise the common thread of vulnerability and personal honesty underlining both C as well as the fact that such apparent straightforwardness is always an assuming of a role. is about transformation C two of the stand6out trac+s are covers. one realises that the words freGuently turn on themes familiar enough to count as archetypal. LlyricallyA self6interrogating ?. more surprisingly. it +eeps things sparse and stripped6down. rather than presenting that truth direct in itself. more intimate variation on ?The Bottle0. )onnecting the subdued. for a truth. the attractive yet unsettling force of the supernatural L? e and the Devil0A C where the supernatural becomes a potent force. from spirituals to space travel C 9ay )harles0 transformation of gospel styles from the sacred to the profane C 4eron0s non6televised transformation of the slogans of consumer culture into their negation. with the blues0 more extrovert. The aforementioned production is decidedly lo6fi Lwith tape hiss and sparing use of mur+y samplesA. even foregrounds it C rather than compensating with a thic+er bac+ground texture. not so much structured into simple moral schemes but figured as part of the complexity of human behaviour.a. #nd ?.familiar wor+. and its semi6industrial sound owes much to the spaciousness. &mogA.0m /ew 4ere0 by Bill )alahan La. The personal demons of alcohol6fuelled sleeplessness and the drudge of routine L?'here Did the /ight Go0A form a Guieter. This is a balance between frailty and strutting confidence that the record treats as central. high speed urban ghosts of the video to ? e and the Devil0 certainly have their say in the matter too. too.t doesn0t shy away from the increased wea+ness of 4eron0s voice( rather.+. and the flic+ering. a self6dramatisation that stands. Transformation is a ma$or part of this experience C the practice of ?signifying0 C $azz0s transformation of white instruments through blac+ music C &un 9a0s transformation of a multitude of sub$ects. almost empty ghost6traces of dub6step. while. where samples . turning to acoustic guitar and the LmusicallyA lilting. rural past L?/ew Eor+ is 3illing e0A.
some might slant this as a record of half6started Lor half6finishedA demos and s+etches. 7orget pre6 conditioned ideas about how an album ?should0 be constituted C as much as you can C and. realised that trying to impose such a structure would not be to ta+e this record on its own terms C which is the only way it is going to ma+e sense.drift in and out almost un6noticed. reverb0d snippets of 4eron in conversationA. rather out of place. allowing that the distance of time may allow a more finely6balanced $udgement once a few years have passed. . Though the songs themselves generally have a clear and simple structure. . completed artistic statement. the Guic+6fix critic in me suggested that very angle when . ?Pieces of a an0. the influences that shaped it Lthe spo+en6word snippetsA. not bombastic. and you should. where trac+s float along on s+eletal beats that pound with mechanical precision but that never feel fast or driving. first heard these trac+s. &uch brevity ma+es it important to experience the whole thing as one. giving it an element of circularity( the transference of mood from tales of spirits and the threat of damnation L? e and the Devil0. each syllable is most definitely weighted. Eou can hear it for what it is. thin+ one can say that this is a good piece of wor+> sincere. spliced together and put out there before it0s reached the stage of a rounded. say. given that the fifteen6trac+ record lasts for only OQ6minutes Lincluding a number of ?interludes0 C :=6second. assessment as to whether it is a ?ma$or album0 or an ?important comebac+0.ndeed. flowing entity> the recurring 3anye 'est sample which opens and closes the record. the predominance of spo+en word and the sparseness of the bac+ground mean that trac+s don0t split as easily into single entities as they do on. but. . there are the pauses between phrases. and attempts to place it into a particular model of ?late recordings by former legends0 Lall the 5ohnny )ash comparisons we0ve been hearingA. not expected( unsentimental but fran+. #nd. the wait for each weighted6syllable. #D$& . There are no saxophone. ?9unning0A. not directed towards melody as on the classic albums but with enough melodic aftertaste to satisfy. continuous. Because of this. the tension hanging on each word. flute or piano solos to add more complex improvised variations over the song0s basic structures( instead. ?Eour &oul and ine0A to personal ruminations hung6 over with depression and unease L?'here Did the /ight Go0. to warmer reminiscences and reflections on a life C the way it was lived. in trying to actually listen to and experience the album with an open attitude. come to seem rather unnecessary. #nd in that sense.
while pleasingly minimalist. Dig the porthole on the cover. .t0s rather li+e a puzzle that doesn0t Guite wor+> the way the cardboard folds out leads to expectations of a map or a poster appearing if one arranges things the right way. fragments of photographs and blac+ and white shapes suggesting some realm of greater activity that lur+s behind the smooth cream cardboard.SKA"A. 0a#el! fbox records "elease Date! O==.EE K '-4. not succumbing to any overweening conceptual programme. small x0s giving the appearance of a diagram. but with enough ?content0 to it to give the impression of more than a mere exercise in form or atmosphere. stays on the right side of mere decoration. . elegant straight lines curving upwards leg6li+e. of the mere re6 hashing of a mar+etable aesthetic( it has a certain edge to it. the inscrutable mar+s purporting to mean something but in the end simply $ust there. electronics. only for the operation to become impossible $ust a few stages before the promised unravelling. bows and household ob$ects ?Tl`n0 is pac+aged with an aesthetic that. contact mic. Trac listing! conversing spirits( lunar landscapes( rewinding metals( insect swarming( tal+ing in code( scratched surface( machine ghosts Personnel! &tuart )halmers> +arimba.
even when this is not the case. haze. . but without reducing itself to a pretty bac+ground. it gives the impression of being Guite soft Lthe unhurried melodies pic+ed out on delay6treated thumb piano on the first trac+A. that0s Guite a wonderful thing. slow6paced and Guiet.The music is similarly inscrutable C measured. . that &+arabee never ma+es one bold and definite statement during the whole record. for it mingles with an impression of vagueness. yet fairly harsh sonorities are often employed. it feels as if things never Guite come the surface C indeed. while remaining focused.S . the music is eGuipped with plenty of scratchy edges. strongly rhythmic statement is at the forefront of thingsA. !i+e the ?machine ghosts0 of the final trac+. instead drifting to the side of fore6grounded ?event0.t ta+es precision to set in motion and then to control the various loops and layers which appear here.DI. but the precision that comes across in the music is of a very different +ind. both albums share an approach to the ma+ing and manipulation of sound that is above all un* fussy. clear. #D$& +ADADA 0EO S&(TE K SPIRI')A. creating a music that at times is so understated one only fully realises that it was there after it0s gone. Though it has a Guite differ6 ent impact to the stripped6down and raw noise aesthetic of )halmers0 very different pro$ect. radio static crac+ling to one side of the main area of sonic focus. tus3 Lwhere. and.SI". #t times. is as much about inattention as attention. in an opposite move. the half6heard C that which one cannot Guite put one0s figure on C and the music. 7or me.
/E). whether engaging in piercing mournful cries. don0t mean that he0s aggressively macho. it would be inappropriate to play a note or a phrase or a rhythm that you didn0t feel. 5une :Jth O==Q.1 . leadership.0a#el! )uneiform 9ecords "elease Date! O==. speech is always at the bac+ of whatever &mith plays.--0. form and feeling. 1 %evin &e 'endre. bac+6trac+s. to a generation grown cynical at the blandishments of corrupt politicians and establishment figures. with a totally new idea. the tempering of strength with vulnerability. re6starts.#. /ew 4aven. might seem removed from the language of public speech C at least. (Spirits Rejoice).%: )onseGuently. on the use of pauses. a few minutes later. is always bright and direct. synthesizer( 5ohn !indberg> bass( Pheeroan #+!aff> drums( Don oye> drums( Disc Two L'adada !eo &mith0s @rganicA> 'adada !eo &mith> trumpet( ichael Gregory. his presence is felt when he chooses not to play almost as much as when he does> inter$ecting with a brief phrase that somehow seems to clarify and bring together what the rest of the band has been playing in his absence. one would do well to remember that the music is performed in public Lby which . There0s a lot riding on the use of space. declamations. 3ulture( #ngela Davis( @rganic( 5oy > &piritual 7ire > 5oy L. $abbing blasts and flourishes. Despite this. The sound of !eo &mith0s trumpet. 3ulture( Disc Two> &outh )entral !. #s he puts it. )T. organisation. collective ritual and individual consideration into a whole that might very well be described as ?organic0. Trac list! Disc @ne> #l6&hadhili0s !itany of the &ea> &unrise( Pacifica( -mar at the Dome of the 9oc+.. and not the language of spo+en conversation.. *e+ember . even when he seems to be staying in the bac+ground( it comes from his ability to choose the right note. 3ulture0 and ?5oy > &piritual 7ire > 5oy0A( @++yung !ee> cello( &+uli &verrisson> electric bass( 5ohn !indberg> acoustic bass( Pheeroan #+!aff> drums Additional (nformation! Disc @ne recorded live at 1ision N.n memory of . Disc Two recorded live at 7irehouse :O. 'hat we hear on ?&piritual Dimensions0 melds interior and exterior.#.. / "anuary .yer> piano.#. the right phrase at the right time. proclamations. Issue 1.. articulations> for though this is music.mam 'arith Deen ohammedA Personnel! Disc @ne L'adada !eo &mith0s Golden YuintetA> 'adada !eo &mith> acoustic and electric trumpet( 1i$ay .--. 7or example. his strength comes from his ability to impart authority. acoustic or played through a wah6wah pedal. Jazzwise. declarations. 9ather. or punchy. The emotional openness. "in music it0s an aesthetic where the notion of sincerity ta+es place. #pril :<th O==. parts : * O( )rossing &irat( &outh )entral !. statements. opening up a direction which may then be switched as he comes in again. don0t $ust mean the audience( for both they and the other musicians in the band are at once participants and witnesses to what any one musician is doingA. darting melodic interplay. as it is with @rnette )oleman or with any blues player worth their salt. &mith is an exceptionally strong player C by which . Brandon 9oss> electric guitar( /els )line> B6 * :O6string electric guitar( !amar &mith> electric guitar Lon ?&outh )entral !.
?#l6&hadhilli0s !itany of the &ea> &unrise0 opens with a barely6audible synthesizer wash before 5ohn !indberg0s twanging bass figures Lat once providing a sense of certain ground and sure placing.% ?Pacifica0> chiming. throbbing. ta+ing his time. a leap into steely moto perpetuo stylings( sense of the static bursting with potentialities of movement. one might say that the emphasis is on free improvisation L. . the founder of the TariGa &hadhili. always following the logic of each phrase.#. ?&irat0> composed phrases melding with spiralling improvisations.n general. hope that using such a $ournalistic short6cut allows for a clear description of what can be heard in the musicA. placing his Guic+ flurries around held tones. tempo Guic+ening from the reverie into which things had settled. a /orth #frican28gyptian &ufi order> mysticism might approximate the mysterious logic of improvised musical interaction. building a totally absorbing rhythmic intensity. a Guic+ twist and a swish of the tail.n both.t0s tempting to draw parallels between the music and its dedicatee. that such labels as ?free $azz0 or ?free improvisation0 are a constricting imposition on open creativity. by contrast. alachi 7avors. The Golden Yuartet. has been one of &mith0s ma$or pro$ects of recent years. 5ac+ de5ohnette and 9onald &hannon 5ac+son are all previous members of the groupA. .yer0s dar+6hued sprin+lings of notes. here expanded to a Yuintet through the addition of an extra drummer. through a series of ample solos. and leaving room for a world of potentialitiesA and 1i$ay .0m aware that &mith would claim that all his music is ?free0. almost flamenco6flavoured figures.yer0s sonorous piano lay the ground for &mith. bell6li+e. it emerges from . . and though the personnel changes from one release to the next L#nthony Davis. spread over two discs. . Particularly impressive is 5ohn !indberg on acoustic bass. &mith. its capacity for multiple combinations. the trac+ fades out as it changes direction. led on by the cumulative energy and flow of what he plays. seemingly heading in a 5immy Garrison direction with his strumming. thwac+ing things. 3ulture0 is performed in two versions. 1i$ay . ?-mar at the Dome of the 9oc+0 is where one really hears what each individual musician in the band can do. is also suggested by the following description of &hadhili> "4e gave me forty sciences. building up statements with an under6stated force and clarity to them. directions.&mith0s trumpet is very much the lead voice on these nine lengthy pieces. and he0s probably right C nonetheless. a definite continuity is maintained. before transforming these into much more percussive. but the bands are Guite different. and something of its boundless openness. 4e was an ocean without a shore. at the close of the first disc and the start of the second. solemn( a pause and a rapid turnaround. 7or some reason. and fields of activity. ?&outh )entral !.
more on a general forward6driving pulse and a particular set of sounds. a guitar6heavy electric group whose music tends to sound li+e $azz fusion. That said. and guitars swirling and twanging around the groove. sometimes reminiscent of fun+.&mith0s piercing. 'ith @rganic. @n the Golden Yuintet disc. as at the start of ?@rganic0. mournful solo C slow phrases interspersed with repeating trilled clarions. rather than imposing its own commands. ?!. @++yung !ee0s cello is threading its way in and out of the foreground. the focus is less on detail. less relentlessly groove6 focussed. particularly when. 7or all these reasons. less vulnerable iles Davis. #D$& . it0s fairly one6directional. &mith is one of the most important musicians around today. as on ?#ngela Davis0. his charge. upping the rhythmic complexity. the rhythmic bac+drop is less loc+ed6in. his drive. and despite the larger size of the band. whose <=s music &mith paid tribute to in the band Eo ilesI. The ?@rganic0 version emphasises the groove element even more. 3ulture0 soon moves into a very groovy bass6 line. with added bass guitar. it forces itself into the crannies around &mith0s trumpet. The roving harmonic approach of 1i$ay . it becomes easy to li+e this music.yer0s piano is also missed C duc+ing in and out and round about. and ?&piritual Dimensions0 is ample evidence of his commitment. with reams of sci6fi echo.#. lengthy solos as ingus0 ?Esabel0s Table Dance0 from ?Ti$uana oods0. #+!aff. things turn all spacey. stic+ing to particular areas of their own +it in order to complement each other. in a manner very reminiscent of Eo ilesI. laying down a more straightforwardly metronomic roc+6beat. by contrast. as in the contextual bac+drop C most obviously on the performances by @rganic. This may in fact be due to the presence of two drummers. li+e a more brittle. they mesh so well that they almost become one. or drowning out the other musicians with the force of combined bombast. and thus holds less interest for me than the more open interplay of the Yuintet Lfor instance. This may sound unduly negative. sometimes with a !atin vibe which possesses the same sort of capacity to inspire passionate. is an influence not so much in the trumpet phrasing or even tone Ldespite the use of wah6wah pedalA. !indberg0s electronically6manipulated acoustic bass is more texturally interesting and unusual than the fat fusion bass on disc OA. or when. and it0s not meant to be> once you accept that the groove is the way things are going. rather than getting in each6others0 way. though often. Davis. and that your attention may occasionally wander. the single drummer. That said.
vocals( Gretchen Parlato> vocals( 5amey 4addad> percussion( @tis Brown> drums( /ino 5osele> acoustic guitar( Donald 4arrison> tenor saxophone( 4oracio H8l /egroH 4ernandez> drums( !eo Genovese> piano( #mbrose #+in6 musire> trumpet. this group is augmented by Donald 4arrison0s alto and the pithy trumpet of #mbrose #+inmusire with some tunes incorporating either bac+ing vocals or multi6trac+ing. @n some of the trac+s. she has already attracted much attention in the &tate and currently plays bass in 5oe !ovano0s band. 3now Eou 3now( 7all .f this suggests an over6produced piece of pop6$azz. 5amey 4addad0s percussion and the drums of @tis Brown.ESPE"ANQA SPA0D(N% K SP RA. #lthough not her first offering.1A 0a#el! 4eads -p . &till only in her mid6twenties.f anyone is willing to ta+e a bet on the next most li+ely big name in $azz. this eponymous )D is her most profile and features her tight band of !eo Genovese0 piano. Personnel! 8speranza &palding> bass. #dore Eou( )uerpo y #lmaLBody * &oulA( &he Got to Eou( Precious( ela( !ove in Time( 8spera( &amba em Preludio.n( . the edginess of much of . surely bassist2 singer 8speranza &palding is worth a punt. .nternational "elease Date! O==Q Trac list! Ponta de #reia( . .
by and large. "Body * &oul%. adore you% whose title belies its ebullience. bass and drums with the stripped down na+edness of the group exposes &palding0s willingness to mix up the rhythm since the pi6 anist only plays during his solo. 8lsewhere. hardened $azz fans. where 8speranza &palding proves herself very much to be a force on the various basses. uch of the ma6 terial has a Brazilian feel to it but with the +ind of bite that mar+ed Tania aria0s best wor+ of the early :. as well as a singer 2 songwriter li+ely to attract listeners from outside $azz without any concessions to the integrity of the music. 'ith there already a plethora of singers of the $azz scene. alto. is re6shaped with a boister6 ous vamp from the leader0s bass and some Portuguese lyrics and emerges as probably one of the most original arrangements since 5ohn )oltrane0s. the leader0s bass entangling with the drums and the #rgentine !eo Genovese contributing some tasty pi6 ano. ". tend to hit the spot. this is a hugely impressive record. 8lsewhere.n contrast.% This is typified by the li+es of ". vocal over6dubbing and some feisty feminist lyrics6 a ter6 rific tune though. . have heard this year. 8speranza &palding is already a ma$or talent and whilst her appearance at 1ienne this year was one of the festival highlights.this music Guic+ly dispels this notion. with "7all in%. The opening trac+ is ilton /ascimento0s beautiful "Ponta De #reia% which received a nice treatment and is a pretty strong opener.n summary. the largely instrumental " ela% pits &pald6 ing0s wordless vocal in unison with a trumpet in the album0s most strident and ultimately uncompromising trac+. demonstrating her craftsmanship as a songwriter.. the disc is essentially made up of &palding originals which. The lyrics are decidedly streetwise and the sentiments expressed are very much in line with much contemporary pop. the only standard. The leader switches between acoustic and electric bass with eGual facility. . )learly. This swinging post6bop trac+ pac+s one of the biggest punches on the whole )D and demon6 strates that $ust how tight the band is. # trac+ li+e "&he got to you% demonstrates that it is possible for a singer to remain thoroughly up6to6date without losing any of the toughness of $azz whereas "Precious% is a more obvious attempt to appeal to a wider audience with the fender 9hodes piano . #Ian 'h%mwood& . there seems little doubt that this is one of the most exciting records by a young artist . This is one of the highlights of a very strong album and allows the band to stretch out in a fashion that will appeal to most.Q=0s such as ")ome with me. a effort for voice and pi6 ano. for once here is a musician who sounds li+e she belongs in O==.f that0s true% illustrates $ust how hip6hop grooves have started to manifest themselves in $azz before mutating into a Guintet outing for trumpet. 'atch this space.
laptop( Bur+ard &tangl> gui6 tar( ichael oser> cello( 'erner Dafeldec+er( bass # problem .0 'hat one has to accept is that the improvisations are there strictly . suspect many listeners will have with this record is that it does not fulfill the expectations aroused by its fantastic international line6up of leading free improvisers.t is not a free improvisation album. electronics2 with collective personnel> 8van Par+er> soprano and tenor sax( 5ohn Tilbury> piano( arcio attos> cello( 5oel 9yan> signal processing( 3eith 9owe> guitar( Tetuzi #a+iyama> electric and acoustic guitar( @tomo Eoshihide> acoustic guitar. 0a#el! &amadhisound "elease Date! &eptember O==.A. turntables( Toshimaru /a+amura> no6input mixer( &achi+o > sine6wave sampler( )hristian 7ennesz> guitar.AF". guitar. . and &ylvian0s claim to have left their recordings untampered with. but is a collection of songs C albeit with none of the rhythmic rigidity or emotional superficiality some might associate with the ?pop song. Trac list! &mall etal Gods( The 9abbit &+inner( 9andom #cts of &enseless 1iolence( The Greatest !iving 8nglishman( :OP &pheres( &now 'hite in #ppalachia( 8mily Dic+inson( The Department of Dead !etters( anafon Personnel! David &ylvian> vocals.DAF(D S*0F(AN K .
as bac+ground C in much the same way that Dere+ Bailey0s guitar enhanced the star+, spare, almost deadpan blea+ness of &ylvian0s delivery on ?Blemish0, often by not really seeming to do that much. .n these bac+grounds, atmos'heres are created Lappropriate to the dar+ness and shadows of the cover photograph, with its similarity to 1on Trier0s ?#ntichrist0A( essentially, the free improvisers are functioning as session musicians, creating a mood and texture which fits the lyrics and delivery of the singer, the main focus. @f course, that0s complicated by the fact that the improvisations were recorded first, &ylvian overdubbing his voice and guitar at a later stage, and this might lead one to suspect that it was he who had to adapt to the instrumental ?bac+grounds0 C but, listening to the record, it0s clear that he does what he does in a manner not substantially changed from elsewhere. /onetheless, he0s not out of sync with the improvisers, and is often in rather beautiful concordance with them> ta+e the ending of ?&now 'hite in #ppalachia0, where the lyric "the radio falls silent but for short bursts of static% seems to comment on the music and the way it moves to an end Cbuzzing and crac+ling over faint fading, droning loops C $ust as much as on the story told by the song. #ttention is primarily, then, on &ylvian0s voice and lyrics( repeating small melodic fragments, which are designed to fit the contour of the words in a manner approaching spea+6singing Lthe ?tunes0 aren0t exactly hummableA, with occasional harmonized overdubs and faint reverbed echoes only serving to emphasize the unusual thinness of texture. The music never mo,es as such Lperhaps that0s why it doesn0t really feel ?improvised0A> melodies repeat, but not to indoctrinate us with their charms. 9ather, as with 5ande+, it0s always the words that one concentrates on, or thin+s that one is concentrating on, the music oozing into consciousness less clearly, snea+ing in by the bac+ door. These words tread a line between poetry Lon the most basic level C some of them rhymeA and prose( often flatly descriptive, they accumulate details in an unhurried, and often Guite devastating manner. This is most often successful because it moves away from the ?confessional0 approach of the singer6songwriter Lthe first6person is used only on the opening ?&mall etal Gods0A( and, if tal+ing about others is still a way of tal+ing about yourself Lor the parts of yourself that you wouldn0t want to address directlyA, maybe that engenders a more honest, or at least a more interesting approach. #t their best, &ylvian0s lyrics somehow manage to create LmostlyA sympathetic characterization through distance and apparent detachment> stories stripped bac+ to essentials, to observed details Lthe way the suicidal writer of ?The Greatest !iving 8nglishman0 refuses to meet one0s eyes, the chemical processes Ldrugs in the bloodstreamA behind the actions of the woman in ?&now 'hite in
#ppalachia0A. These stories are specific C they are about people in particularly circumstances and situations C yet, by refusing to name their characters Lwho are described simply as ?he0 or ?she0A, they avoid being forced into a limiting contextualization L?this song records this emotion at this time spar+ed by this event0A. Perhaps this also allows the occasional, rather biting ironic edge to seem less cruel( the way &ylvian alludes to the melody of !ennon and c)artney0s ?Eesterday0 throughout ?The Greatest !iving 8nglishman0 is moc+ery in part, but moc+ery that arises from, or at least alongside, a +een and sorrowful sense of human wea+ness. .n terms of the music, the free improvisers0 contributions only really stand out towards the end of the record( after &ylvian has finished ?8mily Dic+inson0, his story of loneliness and isolation, 8van Par+er0s soprano melodies, their flowing repetitions and gliding melancholia flec+ed with bro+en, tongued notes, reach an overtly emotional climax never allowed in &ylvian0s near6deadened invocations of despair, distress and doubt. This slides into the only purely instrumental piece on the album, ?The Department of Dead !etters0> again featuring Par+er Lthough this time on tenorA and 5ohn Tilbury, along with arcio attos on cello, it0s moody and subdued, and one does suspect that it was cut with &ylvian0s intentions in mind Lit0s not clear exactly what instructions the improvisers were given beforehand, but their playing sounds somewhat more restrained than it might be in the completely free contexts in which they normally wor+A. &till, for the free improv listener, this will probably be the most satisfying part of the album( and ? anafon0, the closing piece, is probably the disc0s highlight, moving slowly from the scrapes and hisses of a long instrumental opening into &ylvian0s portrait of the 'elsh writer 9.&. Thomas, who tries to alleviate his growing bitterness and frustration by "moving bac+ in time,% a "physical essential% L?essential0 in the sense that, the more he moves forward in time, the closer he reaches death( though, of course, ?impossible0 as well, for moving bac+ in time is a physical impossibilityA, and by dreaming of "moving west,% of raging in more than frustrated old age L"battles raged against the 7uries that might see him at his best%A. There0s a layer of irony, of the sardonic, through even &ylvian0s most apparently tender portraits> the lines immediately following the description of Thomas0 dreams for more meaningful struggle are those that end the song, and the album> "there0s a man down in the valley, don0t +now his right foot from his left.% 7rom the very strategies Thomas has employed to fight his demons, his mind disintegrates( failure to combat failure, failure on failure. .t0s a blea+ way to end what is a blea+ record, one which creates an aura round itself, not of generalized melancholy, but of a sadness born out of empathy and out of a sometimes ironized frustration at wasted lives and inescapable cul6de6sacs. #D$&
%EEDA0(A TAQA"TRS C R PAS FR"ID
0a#el! t a n z p r o c e s z "elease Date! O==; Trac list! Twenty -ntitled Trac+s Personnel! Gh]dalia TazartSs> sounds
'hile Gh]dalia TazartSs0 media profile has increased slightly since . first came across his music a few years ago Lfor one thing, he has started to give public performancesA, there0s still more than a hint of the enigma about both man and music. 7ittingly, then, the only information that comes with this )D is that it contains recordings selected from TazartSs0 ?archives0( even the people who released ?9epas 7roid0 seem unsure as to its exact origin. The shortness of these twenty untitled trac+s Leven the longest, which lasts nine minutes, is actually a series of shorter pieces spliced togetherA intensifies the ramshac+le, fragmentary feel of the disc( it0s as if we0re tuned into TazartSs0 brain, broadcasting on some strange freGuency that0s been accidentally discovered by a battered6up, antiGue old radio. The effect is freGuently funny and sometimes exhilarating, but it can also be disturbing, as demonstrated by the use of a recurring slamming door sample on the first few trac+s, mixed variously with accordions, TazartSs0 own arresting vocals, and fragments from what sound li+e a radio play.
There0s not much point in me giving a further. but as minor elements in the overall texture rather than as a driving force which the trac+ can rest on C for beats would give a sense of solidity and of forward momentum that TazartSs continuously avoids. $uxtaposing a young child0s voice with a chorus of birds. it0s that home6made feel which ma+es his sonic creations so attractive C that. LThe reason that there0s no problem with lac+ of ?cohesion0 is that the notion of ?cohesion0 $ust doesn0t come into things. Though this is a very busy disc C there0s a huge variety of different sounds and moods C it0s not busy in the service of a narrative Lli+e a concept albumA. one0s ears ad$usting. on another. because that0s not how listening to the disc wor+s( it0s really something you have to discover for yourself. or even in an anecdotal sense. and a warped field recording C before switching direction once againA.t0s not $ust the door sample that re6appears on different trac+s( certain samples come bac+ again and again. building up layers of vocals with amplified recordings of cicadas to create a cross between a choral piece. 'hat sound li+e programmed beats also occasionally ma+e their appearance. and the constant audacity of his choices Lon one piece. though never becoming completely accustomed to.0m pretty sure that some of these sounds have appeared on other TazartSs records C .A . the way the trac+s wor+. #fter all. 9ather.. noise music. #nd so this review finishes with the recommendation that you see+ out ?9epas 7roid0 and ta+e a listen as soon as you canI #D$& TEE TE(N% K /A$ I'5 . one becomes caught up in the rush. dusting a few stac+s off when someone suggests he ma+es a record. can imagine a roomful of reel6to6reel tapes from which he pic+s and chooses at will. more detailed brea+down of what happens on each trac+. tics repeated so that they turn into full6blown gurning grimaces.
ngebrit 4a+er 7laten> bass. blowing ear6splitting raspberries and letting out all +inds of machine grunts. and in any context. and away from the grooves and the free . acoustic statement under the overwhelming threat of machine noise. . @f course. if we ignore the fact that free $azz is or should be or could be the true ?music of the people0. and it doesn0t matter because it0s a wonderful sound. of a song by 5apan0s PU /ude 4oneysA. or at least be swept along by the man0s playing Clifting his horn out of his mouth for vocal exhortations li+e those of Pharoah &anders. brutally rhythmic approach that characterized the group0s collaboration with )ato &alsa 8xperience and 5oe cPhee. but being swept up on the energies of multiple genres to create a uniGuely $oyous. given the sort of full6tilt.. where a growling drone imbues the saxophone melody with a sense of terrible fragility. it0s hard to say whether we0re listening to ?free $azz0 Lwhere0s the instrumentation that0s become so enmeshed with that genreDA or to ?noise0 or to ?free noise0. shuddering and rumbling. but the electronics are a new and noteworthy element. then. before everything dissolves into the sound of bleeding electronics.tI0 opens with a cover of ?4idegen 7u$ina+a &zele+0 by The 8x. Guac+ing. Gustafsson 0s baritone in tandem with 4a+er 7laten giving a bass6heavy treatment to the melody. these Gualities and tactics are always there in Gustafsson0s playing.0a#el! &malltown &uper$azz "elease Date! 5une O==. propelling itself along in a manner that allows for the sort of loss of control that might seem lac+ing when. it0s hard not to admire. ?Bag . electronics( Paale /ilssen6!ove> drums )ould there be such a thing as populist free $azzD L'ell. Gustafsson solos over a repetitive bass riff on the title trac+. 7or the last few minutes of this trac+. adrenaline6fuelled rush. and some s+ron+ingly noisy electronics pummeling waves of distorted feedbac+ in a ?solo0 of sorts Lmore li+e a noisy smearA over unstoppable beats.A The Thing provide a fine example of what it might be if it did existC not blending s+ron+ to mindless beats in order to add some superficial colour to the music.&)3> Beef Bris+et L7or 9uby0sA Personnel! ats Gustafsson> saxophones. But away from this. for instance. electronics( .tI( &nusvisan( 4ot Doug( ystery &ong( #ngels( B@/-& D. /ilssen6!ove still pummeling away li+e mad but only $ust ma+ing himself heard as a +ind of metallic blinding sheen glinting from the crowded surface.n any case. screaming with a determined possession. though with a determination and taut compactness that to me surpasses that of the earlier recording. This is very much groove6based free $azz> you could LinitiallyA dance to ?Drop the Gun0 Lanother cover. rolling out rumbling riffs in the rasping low register of the baritone. Trac listing! 4idegen 7u$ina+a &zele+( Drop the Gun( Bag . crying out. anyway. and are integrated particularly well on ?4ot Doug0..
ngebrit 4a+er 7laten> bass( Paale /ilssen6 !ove> drums( with 5oe cPhee LDisc OA and Thurston oore LDisc JA Additional (nformation! U6)D boxset. with /ilssen6!ove0s fragmented rustling and crashing getting louder and louder as the electronics come to dominate the texture. @ne senses that the parameters are widening for a band who have. The electronics never Guite reach out to their full harshness. where )al )obb0s curiously neo6 classical harpsichord added a +ind of formalist ghostliness to #yler0s intoning.blowing. into the red of volume overdrive. a thirty6minute improv in which the usual pounding exhortations share space with a surprisingly subdued electronic ?interlude0 and even Guasi6Tibetan temple chimes and drones.&) @/8 LThe Thing LO===AA> #wa+e /u( /opti( )herryco( @de to Don( The #rt of &teve 9oney C &milin0( Trans6!ove #irways D. wor+ed in many different contexts during their short history thus far( and. #D$& TEE TE(N% K .&) T4988 L!ive at @ya LO==PAA> #rt &tar( The 'itch( #luminum24ave !ove 'ill Travel( /o )rowd &urfing D. but they would perhaps be too obvious. what we are presented with is something closer in spirit to the original #yler piece. slowly ta+e the trac+ to its diminuendo conclusion. . with unconcealed passionA.&) 7@-9 LGluttony LO==<AA> Gluttony Personnel! ats Gustafsson> saxophones( .0 while not typically 8llingtonian in the slightest.D F"R ! R 0a#el! &malltown &uper$azz "elease Date! O==< Trac listing! D. alongside assorted buzzes and sGuelches. or an electronic noise piece li+e the second half of ?Drop the Gun. 4a+er 7laten moving from fast and free wal+ing bass to the buzzing repeated notes which. when contrasted with Gustafsson0s restrained yet utterly soulful playing. finds Gustafsson blowing strong and assertively tender Lhis lines as ever drip with emotion. on the evidence of this album. ."* A. Perhaps the most intriguing trac+ on the record. given the rest of the record and given The Thing0s reputation> thus. that can only be a good thing. Disc J is a D1D.t0s proof that The Thing can maintain a delicate balance when they want( more proof is offered on the bonus trac+. #yler0s ?#ngels0 is a more obvious choice.&) T'@ L&he3nowsFLO==:AA> To Bring Eou y !ove( The Thing( Baby Tal+( Going 4ome( 7or 9eal( @ld 8yes D.0 Both directions would have still ensured some fine music. in any case. but become dominant enough to become oddly unsettling. in tandem with /ilssen6!ove. this could easily have gone two ways> an #yleresGue blow6out. but given an eGually surprising twist> a solo Gustafsson breathily intones the melody before 4a+er 7laten0s creeping electronics add an eerie sine wave. there are some more overtly $azz6flavoured moments as well. Du+e 8llington0s ? ystery &ong.
is ta+en up $ust that extra notch. but this is nonetheless a pretty good selection. Gustafsson powering away with a vocalised intensity which. the debut recording> it0s hard to go wrong with a set of Don )herry0s wonderful melodies. notably as a +ind of pun+ $azz supergroup with )ato &also 8xperience and 5oe cPhee. containing their first two albums. 7urthermore. a D1D of a live performance featuring Thurston oore. rather than $ust going up there and doing his thing every time. Gustafsson has a real control and . The group have of course made several other albums. and an improv session from O==< entitled ?Gluttony0 which receives its only release as part of this set. and the trio prove fully capable of turning them into some brawny free $azz wor+outs. so one feels that he is doing more than $ust ?doing the tric+0.# partial career retrospective so far for this fine trio. his style bursting from what have become an idiomatic hall6mar+ into a set of personalised and forcefully impressive aesthetics. 7irst up. while it might be the norm for many free $azz players.
The album still feels fresh and worth repeated listenings nearly a decade on. and the firm riffs he throws out underneath Gustafsson0s screeching rhythmic patterns serve to anchor the music in a way that might have made it more immediately accessible to the roc+ crowd Lthat. #nd this never feels li+e a forced $azz trio situation either. though several can be seen smiling and $igging in admiration. it0s hard to tell whether the festival6goers are nonplussed or intrigued. blues wailing.ability to thin+ through improvisational situations. given that all but cPhee are 8uropeans. an influence from outside of $azz begins to be felt that is more pronounced than on the debut disc. as Thurston oore springs onstage for the final piece. 5ames Blood -lmer. Pieces by Don )herry. embracing the wild and passionate spirit that cPhee0s been demonstrating since the <=s. to tributaries leading both in and out of the history and traditions of $azz. and a rhythmic emphasis associated with dance. though they transform them into little #yler6li+e song6fragments to the form the basis for improvisation rather than letting their music be warped too far from its originsA. it0s one that emerges from a specifically #merican lineage. on a festival stage at @ya. or attacking them with some manic bowing. The most stri+ing thing about the music is its strongly rhythmic approach. The addition of 5oe cPhee to the line6up broadens the texture and unleashes a humorous. @f course. anarchic strea+ within the disciplined grooves and tight structures surrounding the group0s free blowing. bending them double with the force of his fingers. it0s clear that this is a man on a mission. it0s when a genu6ine roc+ musician $oins the band that things become more abstract and noisy. .mprovisation0.ronically enough. a ten6 minute noise $am dominated by the feed6bac+ howls and rumbles of his . and the fact that the band cover tunes by the Eeah Eeah Eeahs and The 'hite &tripes. The third disc is a D1D documenting a live performance by the group. 'atching 7laten stri+e the strings. 7rom the brief crowd shots. rather than the more abstract and spacious worlds of ?8uropean 7ree . #t the same time. and there0s warm applause at the end of the tunes. with covers of a song by P5 4arvey and the traditional ?Going 4ome0 paying tributes to pasts and futures. such a distinction wor+s on simplifying polarities> nonetheless. as it might have> tune and improvisation are umbilically lin+ed. 7ran+ !owe and cPhee himself round out what is an impressive selection of compositional material C and. and he +nows when to let )herry0s melodies simply sing out their simple pleasures without overblowing and bite. down as much to 4a+er67laten and Gustafsson as to /ilssen6!ove. interestingly. so that it0s not simply a case of playing the head and then blowing one0s head off. The Thing set out their stall very much as a free $azz group. with its roots in gut6buc+et hon+ing.
Texture of bow on string. because forcing concentration. intensity ratchets> busy bass and drum scuttle. held multiphonics. though Gustafsson0s tendency to go flat out for the most ?direct0 Lor obviousA manifestation of emotion means that the music often shares a similar heated temperature. on the edge of total panic+ed overload. sawing away with the bow for the first few minutes and even introducing a few riff6li+e figures towards the end. departs from the roc+6tune based approach in favour of a continuous forty6five minute free improvisation. out of its throat( a human or an animal plea. in tension.electric guitar. hammering away at a single alternating figure and subsiding with it before 4a+er67laten ta+es a fractured bass solo. even Gustafsson0s beefy saxophone finds it hard to compete( for much of the time. strangled. The slide sax. Gustafsson0s hardness here has an almost swooning Guality to it as he bends his notes round in circling. but with much held in chec+. &uch emotionalism is. Bass and baritone playing notes that are growled and spattered. spittle6fuelled. a dip and a drum solo. he0s restricted to blowing long. sounding somewhere between a clarinet. in the most hushed passage so far. The whole thing starts off as baritone bleats are emitted with a plosive. crea+ and groan. the results are $ust as. reverberant drag. ?!ive at @ya0 is not a particularly long set.n the face of such noise. /ilssen6!ove giving his drumset a succession of vicious thwac+s. in fact. held multiphonic and cautious gentle bass pluc+. 7laten0s bass playing though. by free $azz standards Lthe disc plays for $ust over J= minutesA. tongued edge. s+ewed. flute and sax( a whimpering dog0s whine. ?Gluttony0. compelling. of course. &udden cymbals. voice rising high. Building through repetition. Bac+ in on alto. #s more and more melodic phrases creep in. is absolutely ferocious. trilling and fluttering without the slightest hint of delicacy. The most recent recording. the . pitter6patter cymbal6wor+ +eeping up a tin+ling dance over the thuds and thwac+s. 8xhilarating propulsion. but no swing bac+ to bombast C crashing punctuations of slide sax0s yearning yawn. if not more. swooping figures. Gustafsson storms into his patented throaty baritone yell. Gustafsson hon+ing away on baritone> pop and slap of tongue and breath. spat out and barfed. Breath and scratch. &low. then a throttled bird. . when Gustafsson tones down the bombast. inimal drums s+irting round a pulse. with held multiphonics and even something of the delirious Guality of )aptain Beefheart0s shenai playing. even more obvious with visual evidence. but it0s nice to see the physical dimension existing behind the sounds C something obvious from $ust listening to the albums. and sometimes dropping out altogether. a hoarse alto desperation. part of a great free $azz tradition C from #yler0s vibrato to &ander0s wide6 open shrie+ C but. pushing things to see how Guiet they can go Cless in your6face but perhaps even more intense than the full6blown free $azz sections because unexpected.
than the screaming choir of horns on )oltrane0s ?#scension0 or the dense textures of #lan &ilva0s ?!una &urface0. face assimilation. the temperature rises again. a mar+etable genre> previous extremes having reached dead ends. 'hen the ?fuc+ you0 gestures of the experimental side of roc+ music seemed to have reached the limits of assimilation. The pac+aging of ?:= Greatest 4its0 suggests a parody of the pop music forms which noise music inherently resists Lthe slab of feedbac+ which formed an ?interlude0 on the original studio recording of y Bloody 1alentine0s ?Eou ade e 9ealize0 became. and such freshness is testament to the consistent high Guality of music they produce. that really ta+e things into a different space. there0s plenty to sustain the interest over these four discs. #s might be expected. right through those moments in popular.t0.tremor of uncertainty. new directions branch off from the latest limits. By ?assimilation0 . masses of sound forcing their way out of the spea+ers li+e the impasto oil paint hanging off a 7ran+ #uerbach canvas. . is also in some sense illusory.t0s hard to believe that this group have been going for ten years now.fr &o where is /oise at todayD #n initially radical gesture. the maintenance of the radical gesture as a +ind of controlled ?resistance0 to that mainstream. in sum. This creates a tension which. loo+ no further than their latest. 7urthermore. even. don0t necessarily mean incorporation into the mainstream. as it allows a modicum of conflict Lwhich is. #D$& tusK K 67 $R A' S' (I'S5 0a#el! &tomoxine 9ecords "elease Date! &eptember O==. however. 7or more evidence. but rather. too. focussing exclusively on the ?non6musical0 elements of music in the creation of extended sound experiences. classical and $azz musics in which instrumental textures had created densities of sound in which individual lines or groups could no longer be distinguished.free. Trac list! e$ect( rupture( malfunction( magma( splice( tectonic( repeat( static( explode( loop( drone Personnel! tus3 L&tuart )halmersA> oscillator machine. it has now become. available from http>22stomoxinerecords. before they. #nyway. also reviewed in this issue. other electronics Additional (nformation! Download 9elease. and the concluding section of the disc is pedal6to6the6metal stuff( but it0s such moments as those described above that really ma+e it for me. circuit bent pedals. it could trace a heritage going bac+ to !uigi 9ussolo and the 7uturists0 paradoxical embrace of modernity. never going to mount a serious challengeA to spice things up a little and +eep things tic+ing over nicely $ust as they are. though very real. as the trend always goes. so layered and crusty that it could be called a +ind of relief sculptureA. in the band0s live . noise too+ things further out Lfurther. ?Bag .
n this sense. through the wor+ of &tephen @0 alley. admittedly. which have developed around and within it. They do not cover up the dar+ heart of modern society with veneers of manufactured $oy and the illusory impression that individuals have the freedom to emotionally in6 terpret and ?ma+e their own0 the pre6fabricated products of the culture industry0s pawns.performances. the same criticism could be levelled at any number of genres C free $azz and LacousticA free improvisation C with debatable levels of accuracy. harmony. &till. this +ind of mimesis also does come through in comments of #dorno0s such as "modern art is as abstract as the relations between people have in truth become. they constitute a +ind of truth6telling about how things are.nstead. )ompared to the polyrhythms and free time of a 9ashied #li or &unny urray. but neither do they posit an independent alternative. Given that noise is devoid of so much of the material that ma+es up ?normal0 music C melody.: . 'hile noise itself attracts a very definite and specific crowd Lit remains very much cach] musicA. @f course. The primary ?gesture0 . turning the feedbac+ and noise of large6scale concert roc+ into a howling and total body experienceA. a reduction to its mechanised essence of the +ind of popular music beat6ma+ing which Theodor #dorno famously compared to the sound of LfascistA marching. On Popular Music (available online at http4//lib+om org/library/on5pop5musi+5theodor5adorno5george5simpson)) 2dorno. am thin+ing of is the role of rhythm. even if there is no explicit ?message0. mimetic function( and. often blatant and loudly in6 dustrial in nature. in fact. Eet one must as+> is this resistance now inherentD Bands such as Boris and &unn @AAA have tapped into another mar+et Lthe avant6metal scene C and. and harsh and glitchy sounds which might previously have been heard as ?errors0 are now part and parcel of much contemporary electronic dance music. the set of gestures. the art worldA. such an interpretation does come close to assigning /oise a zeitgeisty. . obedien+e to this rhythm by over+oming the responding individuals leads them to +on+eive of themselves as agglutini3ed with the untold millions of the meek who must be similarly over+ome !hus do the obedient inherit the earth ) (2dorno. might have been said to have solidified so that it has lost its dangerous edge.%O though 1 . about how existence and experience exist at this time C though they do not do this through explicit political content L erzbow0s embrace of ve6 getarianism and ?save the whales0 is not really a part of his music. and even the particular +inds of texture and textural interaction which free improvisation can utilise C there tends to be a strong. both musical and extra6musical. the rhythms of noise music function more as reflection than as resistance. even if the stic+ers which he plasters on his laptop are in such physical proxim6 ity to his sound6ma+ing deviceA. 2estheti+ !heory . noise0s rhythmic assault is relent6 lessly crude. something which completely overwhelmed the cursory ?song0 boo+end. compensating focus on rhythm. (2s the standardi3ed meter of dan+e musi+ and of mar+hing suggests the +oordinated battalions of a me+hani+al +olle+tivity.
perhaps a basic rhythm. . or it could simply have been what happened when performingA. Notes to &iterature .% That instrumentation consists of a couple of oscillators with vari6 ous pedals and effects. That said. but as Guestions fundamentally entangled with /oise. any /oise artist0s use of rhythm comes already bound up with a complex and paradoxical series of Gues6 tions about the role of music and sound within the structures of contem6 porary society C not as add6ons which impart the music with a pseudo6 intellectual weight. whether as part of a conscious intellectual engagement with the issues outlined above.n any case it0s a good ex6 ample of the way instrumentation completely changes identity C in con6 trast to )halmer0s other solo pro$ect. non6developmental. at the most level of the most basic practices and gestures which any /oise artist ma+es as soon as they begin to ma+e /oise. seemingly uncontrolled extreme pitch oscil6 lations means that textures must be much simpler. one might usefully contrast 6 2dorno. the texture consists of at least three layers. made at the conceptual stage for the album. from which an art6 wor+0s historical ?truth6content0 can then emerge. so that. where the various pedals and effects are applied to gentler sounding instruments such as the +a6 limba. This puts in sharp contrast the star+ness of the other trac+s> often only one idea is followed at a time. here. the very different process of creating rather than merely listening. #s he puts it on his website Lhttp>22www. or con6 struction dictates trac+ length( in any case. then. the harshness and crudity of the oscillators0 machine sGuelches. #nd tus3 L&tu6 art )halmersA seems to be concerned with this rhythmic aspect of /oise more than most. and the format seems to be broadly within that of the three6minute pop song Lthis could have been a conscious initial de6 cision. or as part of an engagement with the mechanics of /oise6ma+ing. bloc+y approach in which sound creation comes in discrete units. The format of short trac+s is undoubtedly an important part of this. to be $oined by one other sound element before that section is discarded and a new one starts> a non6linear. semi6independently of the artist themselves L"the content of a wor+ of art begins precisely where the author0s intention stops( the intention is extinguished in the con6 tent%JA.elsewhere he argues for a concentration on form. as part of his improvisational discovery of means and methods. most of the time. the penul6 timate trac+. although it0s by no means certain whether trac+ length dictates trac+ construction. &+arabee.myspace.com2 tus++A> "material is allowed to move in which ever way the sounds or in6 strumentation determines. 'hether consciously or not. ?Drone0. zaps and trilling. indicates that it is possible to create music more similar in mood to the ambient6oriented free improvisations of &+arabee> a repeating loop is underlain by wavering low drones and sprin+led with various Guiet beeps.
this approach to the long6form explorations of. R P"S (EP) 0a#el! Total 1ermin "elease Date! 5une O==. 9ecorded live in &heffield. brutally basic rhythms. $ust existing as sound from the spea+6 ers. #D$& TEE +EO0E FO*A0D K I. ma+ing no real bones about itself. December O==Q. 'hat we have here is not so much a morass of sound in which one can become lost. deliberately restricted palettes of sound and texture> this is music that is simply there. say.n that sense the potential for exhilara6 tion and for a sense of liberation offered by the extreme experience of go6 ing to a /oise gig or of $ust listening to a /oise album is diminished( which may be a way of negotiating the problems of /oise0s diminishing radicalism. . #nd that brutal lac+ of pretension Lmixed with a subversive strea+ C those paying attention will note that there are :: trac+s on the album. physically affected Lthough the persistent harshness of tones and the repetitive rhythmic grind of the stripped6bac+ approach consti6 tute their own +ind of challengeA. Trac list! .n 9epose Personnel! &tuart #rnot> trumpet( 5on )ollin. disoriented. despite the titleA ma+es Guite an impact. @ne6word titles. not bludgeoning one into an experience of tortured ecstasy. three6minute trac+s. Tom &ettle> guitars( 5on arshall> harmonium( Paschal /ichols> drums. erzbow Lor of the noise sections of y Bloody 1alentine0s live performancesA. .
there0s more than one climax. &till. this is one you might feel li+e playing again as soon as it0s finished. The tra$ectory is not simply Guiet to loud. and one could apply this notion this band0s music. &lowly mutating improvised textures emerge imperceptibly from initial harmonium6based drones with an obvious legacy in :. the most prominent of which comes around ten minutes in. but in some ways rather overly6protracted coda.e at the 2ast C but with a slightly harsh edge caused by the tendency of the two electric guitars to shade over into ringing distortion( this becomes more pronounced as volumes increase. indeed. $azz C the use of the harmonium0s hovering6cloud sound brings to mind Pharoah &anders0 deployment of the instrument on /i. and /ichol0s fervently6beating drums.B=s2<=s minimalism. Thus. as #rnot0s trumpet ta+es on what sounds li+e an electronically6distorted tone. The final six minutes of the piece conseGuently feel li+e a necessary. at only eighteen minutes. and. high6pitched double6 guitar wail. #D$& TON* +(0SON SELTET K '( P "P-""0 -I0 F-"* RS A' -AS' . !ovely stuff.?1oyald0 is a hybrid word coined by writer 'illiam &arayon. over $oyfully ululating. as they move into the +nown un+nowns of a group improvisation where overall sound is more important than individual lines or melodic development. or repose to disturbance and bac+( things rise and fall more freely than that. and then again after that. combining the notions of ?voyage0. ?void0 and ?world0.
?!achrymae0 C variations on variations. There0s a nice. to add something extra to the mood of sober melodic contemplation. as the original piece is based on 5ohn Dowland0s ?.0 &omething of the mood and melodic material of the Britten is sustained as a constant undercurrent to the music. melody restatements intersect6 ing and entwining with solo lines in delicate. The oth6 er variations generally hold the attention. which might otherwise seem to depart Guite significantly from it.6part suite feely adapted from Ben$amin Britten0s melancholic piece for viola and strings.f y )omplaints )ould Passions ove. which at first seems an odd decision C Britten filtered through ? idnight )owboyD0 C but turns out to add a slightly grating.0a#el! Drip #udio "elease Date! O==. rather than in the strident. Peggy !ee0s cello gives further appropriate somber undertones. high6pitched scrapes half6way through for emotional emphasis. given its modern6$azz flavoured language. trumpet( Dave &ay> tenor and soprano saxes and flute( Peggy !ee> cello( Paul Blaney> double bass( Dylan van der &chyff> drums( Tony 'ilson> guitar and harmonica The disc opens with a . and their harmonic palette is generally richer than the ?!achrymae0 suite. disturbing the hymn6li+e contours of Britten0s melody so that the final blissful cadences Lwith some lovely ten6 or sax swoopsA feel almost perfunctory. before the rest of the band come in and add even more colour. the drums perform a fine crash6 ing restlessness on the final piece. ruminating privately. wispy dances. The theme is stated most clearly in the first movement. semi6groovy drum patterns which a lot of players in this +ind of slightly left6of6centre $azz seem to prefer. declamatory mode in which he tends to play soprano with his current GuartetA. The final . ?#rpeggio0 is edgy. though some of them rely too much on the +ind of repetitive. and which distract from the rhythmic complexity hinted at in the other in6 strumentalists0 contributions. and the arrangement is intricate but flowing. The title trac+ has an attractive $azz ballad melody. refusing total clos6 ure. surprisingly 'ayne &horter style soprano solo Lthat0s &horter in his softer. more poin6 tilistic 'eather 9eport days. while not totally departing from it. complex but not overly tric+sy( this material is first intro6 duced by 'ilson0s solo guitar. 'ilson0s clean guitar pic+ing out the melody under a horn counter6melody and some fine solos. Trac list! !achrymae LPrelude( ovement a:( ovement a O( ovement a U( ovement a U 1ariation( ovement a <( ovement a < 1ariation( ovement a :=( ovement a ::A( #rpeggio( The People !oo+ !i+e 7lowers at !ast( !et the on+eys Dance( 1ariation on a Theme Personnel! 3evin 8laschu+> flugelhorn. incomplete. ragged edge to the grave melody. and sud6 denly performs some unexpected yowling. The other compositions on the disc are all by 'ilson Lapart from the final variation on Bill onroe0s ?'or+ing on a Building0A. played by 'ilson on harmonica. That said.
electronics( i+hail 8rshov bass6guitar( Pavel i+heev drums Additional (nformation! 9eleased as a free PJ download at http>22www. a textural richness that goes beyond surface impressions. with smears and yelps to build crescendoing intensity in ichael Brec+er fashion( and while this may heighten the suspicion that the solos on the record tend to do no more than reGuired C in other words.archive. variations on an old bluegrass staple. . and the pleasure eli6 cited from the layers and combinations of the small group.trac+.lia Beloru+ov alto saxophone. without being superficially attractive> there0s al6 ways something to listen out for.org2 details2ca=Q<[w.t0s very pleasurable to listen to. elicits a more straightfor6 ward tenor solo. Personnel! . #D$& +OQQECK! AC' I 0a#el! )linical #rchives "elease Date! December O==< Trac list! #ct . . less than they could have C the disc as a whole is more about the s+ill of 'ilson0s arrangements and compositions. 'ell worth see+ing out.
the textures become more dense. #D$& .This was apparently 'ozzec+0s first studio session. things gradually. the explosion of brightness followed by the dwindling to nothing. . rather than C as often happens with forceful saxophone players in such contexts C being fore6grounded as the ?leading man0.0 demonstrates that they have a great sense of musical flow.n addition. they have a sense of control and development which is very different to both those groups. we might consider the desolation of the piece0s conclusion. both in terms of instrumentation and the energy which courses through their performance. to be ta+en on an emotional $ourneyA nor a sense of structure and texture. then $oins with 8rshov0s bass to create a crescendo of feedbac+. sacrificing neither emotional intensity Lto listen to this disc is.0 electrified to the max. Beloru+ov wailing over snarling electric bass and propulsive drums. more about a +ind of vertical momentum. still throbbing with barely6contained. which is as unexpected as it is naturally flowing from the preceding storms of noise. . and it may be true that 'ozzec+ are exploring similar areas> their music could be loosely described as free $azz with rhythmic sensibilities influenced by roc+ and pun+. inexorably slow down> a long.n addition. and as such it ran+s as a supremely assured debut. but also to vary their approaches so that they fit with the afore6mentioned group sound Las in that final section. )omparisons will inevitably arise with 5ohn Torn0s Pain 3iller or perhaps a guitar6less !ast 8xit. but his use of electronics adds a totally different dimension( at times he disappears into the group texture. thrashing energy but less linear and developmental. 7rom this super6intense climax of ear6testing noise. Things open full6blast. 8rshov and i+heev.0 is well worth see+ing out. meanwhile. are prepared to go for things full6tilt. 4owever. in an achingly melancholic passage which comes across li+e the aftermath of the death of a star. above all. Beloru+ov blowing lonely reverbed lines over the minimal taps and clic+s of i+heev0s drum+it and the almost imperceptible feedbac+ drone of 8rshov0s bass. long descent until almost nothing remains of the energy unleashed at the start. as Beloru+ov first loops and multi6trac+s himself on saxophone. though its emotional terrain is far more complex and. the forty6minute piece entitled ?#ct . one might argue. where pun+ish bass and drum momentum would be entirely inappropriateA. The group can with full confidence be described as a ?power trio. 'ith the introduction of electronic effects around ten minutes in. @ne might almost describe it as having an ambient edge. The effects build and build. Beloru+ov is capable of the same strident and rough6 hewn outbursts as Torn and Brotzmann. ?#ct . This recording succeeds above all because 'ozzec+ manage the ris+s attendant on ma+ing this type of music. arresting than much ambient wor+. their improvisation unfolding in a spontaneous succession of rising and falling waves of sound.
in duoLlogueA with 7ederico -ghi> drums Ltrac+s : * QA( Daniel )arter> alto sax Ltrac+ OA. Eamamoto is becoming a distinct voice herself and there is a sense of authenticity in . The courteously named titles of this set ares redolent of the amiable nature of this collection of duos with bassist 'illiam Par+er.E"( *A&A&OTO K D)"-"$) 0a#el! #. the 5apanese pianist has emerged as one of the most interesting and rewarding exponents of her instrument over the last few years. saxophonist Daniel )arter. Trac list! Than+ Eou( )onversation( &ubway &ong( )ircular ovement( 1iolet &+y( idtown Blues( use( Eou #re 'elcome Personnel! 8ri Eamamoto> piano2composer. drummer 7ederico -ghi and 4amid Dra+e wor+ing wonders with his frame drum. for my money. 'ith so many of today0s piano players coming out of the Bill 8vans23eith 5arrett school. tenor saxLtrac+ PA( 'illiam Par+er> bass Ltrac+s J * <A( 4amid Dra+e> frame drum Ltrac+s U * BA 8ri Eamamoto0s appearance on )D is always welcome and.7idelity "elease Date! O==.
% the trio album where Eamamoto first came to the attention of most $azz fans. if anything. contrive to push the pianist in some interesting territory. Typical of the whole of this disc. 'hilst ")ircular ovement% brings out the exotic in the two musicians and demonstrates the almost incredulous possibilities that Dra+e coaxes out of this percussion instrument. the infectious " idtown Blues% is the highlight of the disc. The opening trac+ is called "Than+ you% and sounds li+e it has strayed from 'illiam Par+er0s "!uc0s !antern. the music remains extremely accessible and this trac+ will definitely get the toes tapping. -ghi doesn0t disappoint and there is clearly a significant degree of understanding between the pair on this march6li+e composition. it is the wor+ with her erstwhile employer 'illiam )arter and 4amid Dra+e where the level of creativity goes up several notches. The bass lines ta+e some odd twists and turns ensuring that this trac+ is steered away from complacency and. @f the two. 8ach guest is allotted two duos and the record is boo+ended by collaborations with 7rederico -ghi. There is no more beautiful trac+ that this absolute gem on this record. nothing is over6played and this very much comes across as a series of respectful discussions between close friends. The theme is immediately memorable and once more Eamamoto recalls Du+e 8llington. Previously un+nown to me. The more typical improvised fair is provided in the duos with Daniel )arter who uses both alto and tenor saxophones. . This is a great duo and their next collaboration on the ballad " use% once more recalls their more hymnal wor+ together on the "!uc0s !antern% disc. this time with a roc+ing rhythm not too dissimilar to one of his train inspired pieces. "&ubway &ong% sounds li+e one of the 8llington riffs he used to so readily toss off and this trac+ illustrates $ust how hard a swinging bassist Par+er is.her playing which mar+s her out as someone capable of immediately grasping the mettle. "1iolet &+y% recalls the ballads of 5ohn )oltrane C albeit )arter has a much lighter approach to his tone and rhythm. Eamamoto almost tips her hat towards !es c)ann with an immediately catchy theme underscored with the s+ipping brushwor+. 'hilst the pianist ploughs a pretty much free6ish approach to her improvisation. #s good as these two collaborations are. 7or four minutes and twenty6five seconds. 7ans of improvised music will also no doubt approve of the trac+ where he switches to alto L")onversation%A which is easily the most abstract of all the recordings on this disc where the performances seem tailored to the optimum duration. The final set of duos sees 4amid Dra+e set aside his full drum +it and get out his frame drum which he was so freGuently demonstrated to be able to bring out a huge range of colour. @n their second duet called "Eou are welcome%.
8ri Eamamoto deserves to be better +nown and "Duologue% offers an ideal recording to get acGuainted with her wor+. 9ather li+e a contemporary al 'aldron in her style and approach. there have been performers with an unerring ability to get to the nitty6gritty from the off.t -p( #rt of 'ar( 5u$u !ul( en @n )orner( /ecro an( 'atabo++uri a O Personnel> Eximalloo> Dell !atitude c B==( )hris anz> Piano Ltrac+ a :BA . &uccess * 4elth( 'atabo++uri a O( The Poete( 4amberged #ngel( # &lice of Dar+ness( #ny &ense( &lic+ 4ands( &ex * &ushi a :( There .this trac+ fizzes along and you can imagine the pure en$oyment they must have had playing this. This is one of those trac+s that you feel the need to press the re6play button once it has finished. . 9ecommended. Throughout the history of $azz piano. must admit that .s # ountain LDonovanA( Pu$a( &amui &hibu$a( Plowed !and( Trail( Yabala a :( Big an( Person to Person( 7ull .P"P 0a#el! 8&P Dis+ "elease Date! /ovember O==Q Trac list! Peter . love this unassuming record that manages to balance the adventurous with some great tunes.s Bac+( !inie 1oezo( !av. #Ian 'h%mwood& *L(&A00OO K ).
?Peter . of course. 'hether this motley assortment can be considered ?influences0 on the sound of Eximalloo is anyone0s guess C the music itself bears little discernible relation to any of them Lunless. #gain. )liff 9ichard released an album of glitchy beats and electronic bleeps which somehow went unnoticedA. of sorts> it feels li+e a dance or pop trac+ stripped of melody. #t it0s most effective. which is of a rather different character to the ma$ority of ?-npop0 C it0s something of a deconstructed blues song. whilst childli+e voices inform us. synthetic sounds C buzzes. &till.n that sense. before the entry of a rhythmic pattern made up of seemingly random. alien beats. Eximalloo0s glitch6dominated approach also has elements in common with the noise of fellow countrymen li+e erzbow. thereby reducing the music to a core of roboticized. non6musical elements are employed to create identifiable Loccasionally even danceableA rhythms that are characterised by repetition. Eximalloo0s approach shares something with other essentially amelodic.QO album ?3itsch &haman0 may give a slightly better idea of what0s on offer C tribal6esGue Guasi6dance rhythms made using all manner of trashy cheap6synth beats and sound effects. harmony and the use of instruments in a conventional sense. been the pro$ect of an unassuming 5apanese man with a taste for The Beatles. that ?Peter0s Bac+0.O=s Gree+ music.#ccording to -npop0s liner notes Eximalloo has. 8ventually the vocal line returns and it becomes apparent that the piece is a ?song0. shifting rhythms on ?/ecro an0. Eximalloo retains an audible connection to dance and pop music C something obvious in a trac+ li+e ?#ny &ense0 which relies on a . except that Eximalloo isn0t concerned with noise for noise0s sa+e C rather.s Bac+0 was no false start C it simply demonstrated what may be the core principle of Eximalloo0s music> chopping up and stripping down the familiar Lwhether twelve6bar blues or pop songs or dance rhythmsA. perhaps not coincidentally. was originally released only in 5apanA. since the early :. whirrs and so on. for instance. scratches. #fter this seemingly false introduction we encounter Eximalloo proper. )liff 9ichard and :. one wouldn0t +now that Eximalloo sounded li+e this from hearing the opening trac+. . on a piece called ?!inie 1oezo0 C it opens with bizarre unaccompanied vocals straining out stilted phrases. naturally. recall the hyper6speed drum6machine bursts which occasionally enter on ?Dar+ agus0 Lan album which. so that we are left with only a s+eletal beat and the incomprehensible intonations of the ?+itsch shaman0.s Bac+0. or ?electric0 iles Davis 6 the rapid. rhythm6dominated electronic music C #utechre.Q=s. perhaps. ?Peter . with a fragment of a typical twelve6bar riff being alternated with synth6derived xylophone6li+e sounds. The title of his :.
is thus not without its moments of interest. even irritating. #s it is. There are. #Daniel -arwood& "EC(SS/ES "ONN(E . however. music C at several points over the course of ?-npop00s OU trac+s Lwhich total nearly <= minutesA . felt as though . were being sub$ected to a series of indistinguishable variations on the same basic piece( the most memorable moments were those that bro+e totally from the Eximalloo sound 6 notably the sudden. suffers from being overlong."* . an album that. This can ma+e for some fairly mindless and banal.t would be intriguing to hear Eximalloo0s wor+ from the early :. unexpected appearance of &un69a6esGue $azz piano on ?Trial0. in general. which reminded me of the start of ?9ain Dance0 from 4erbie 4ancoc+0s ?&extant0.O*K(NS K '( *I-. in O=:= this approach is hardly new C though as far as pop Lor rather ?unpop0A goes . 6 6 s Linsert decade hereA revivalism any day. ?-npop0. .C". and inconsistent.Q=s C if it sounds anything li+e this more recent offering it would surely have to be considered ?ahead of its time0.0d ta+e this over yet more :.simple pumping bass6snare pattern used in countless other electronic dance trac+s. unvaried. 8 IS . such as the aforementioned ?/ecro an0. or the afro6futurist polyrhythms of ?Big an0. are a few standout trac+s where the predominant rhythmic approach is put to more effective use. for whatever that0s worth.
. with eerie conga moans timed to create $ust the right unsettling effect. or to the sparse and spoo+y opening of ?Dawn is 8vening. #D$& .<P( engineered by arzette 'atts The only solo recording by &un 9a bassist 9onnie Boy+ins.0. 'hat0s most stri+ing about ?The 'ill )ome. as well as har+ing bac+ to earlier styles. and it demonstrates lessons learned from 9a. Boy+ins0 growling sousaphone contrasting with the more lilting high timbre of flute and the more piercing high timbre of soprano sax. The $ovial melody of ?Demon0s Dance0 gives way to a collective improvisation in which the horns pursue separate melodic lines. flute( Daoud 4aroom> trombone( #rt !ewis> drums. #frocentric $azz of the period. # conga solo connects this with #frican roots. ?The 'ill )ome. #fternoon( Tipping on 4eels( The Third . with brightly6pitched soprano saxophones ta+ing the place of trumpets and clarinets. percussion( George #valoz> congas Additional (nformation! 9ecorded :. shrilling. giving the music a real low6end rhythmic force. Personnel! 9onnie Boy+ins> bass * sousaphone( 5oe 7erguson> soprano and tenor sax. .nn( Demon0s Dance( Dawn is 8vening. it har+s bac+ to late P=s and early B=s $azz.s /ow0 has something in common with the ?spiritual0. .f not a record of great surprises.t0s followed by a ballad feature for his arco bass with a melody that comes very close to a ingus tune( in sound. Trac list! The 'ill )ome. and an alto melody imparted with an almost desperate fragility before a sudden switch to invigorating up6 tempo soloing( listen to the way individual instruments emerge to solo over the dense. heavy percussion of ?The Third .s /ow( &tarlight at the 'onder . flute( onty 'aters> alto and soprano sax( 5ames 1ass> alto and soprano sax. ?The 'ill )ome. #fternoon0.0a#el! 8&P Dis+ "elease Date! O==. hon+ing. remains a very fine listen. and spinning out intertwining be6bop lic+s. groove. is the great attention paid to texture throughout> listen to the way Boy+in0s bass vamp blends with the low6toned percussion on the opening trac+. percussion6complemented. . his deep and sonorous bowed tone imparting familiar6sounding melodic contours with a slow6paced elegance. . and the collective solos that ensue have the $oyous flavour of the improvised ensemble playing in classic /ew @rleans $azz. ?Tipping on 4eels0 opens with an unexpected burst of old6fashioned swing $azz.s /ow0. The title trac+ is a near6:J6minute piece built around Boy+ins0 steady. with a collective approach that sees all the musicians doubling on percussion and mixes tightly6 arranged grooves and compositional material with plenty of space for individual soloing.s /ow0. . Boy+ins ta+ing on the role of a saxophone soloist gliding over the swooning inter$ections of the horns. 'e might compare this approach to that of #rchie &hepp on ? ama too Tight0 or to ingus on numerous recordings> encompassing roots and futures in a historically6aware but living and flowing music. big6band style.
a member of the rather neglected )alifornian contingent of the ne$ thing.S : '( . ")S 0a#el! /essa Trac list! )D @ne> 4is a$esty !ouis( Bridget0s other( 9oom U=Q( Tolerance2To Bob( )D Two> Trane 9ide2 @rnette6 ent2 Doo6Dee( /orway( 9hythm Piece( 7ragment Personnel! Bobby Bradford> trumpet( Bob /orden> trombone( Trevor 'atts> alto and soprano saxophone( 5ulie Tippetts> voice and guitar( 9on 4erman> bass( 5ohn &tevens> drums.)SIC .<:A.B=s.B=s $ust after Don )herry. and the diverse British improvising scene which had been growing since the mid :. percussion and voice /ot entirely a re6issue.'A.&. . later to be +nown for his ubiGuitous and wide6ranging approaches to musics of all +inds from fusion with A$ay to the non6$azz. remar+able in themselves. non6idiomatic free improvisations with Dere+ Bailey. as some of this double album has never been released in any format before.s departure. and 5ohn &tevens. S' ! ./"//+ /RADF"RD *I'( 9"(. who played but did not record with @rnette )oleman in the early :./- SP". But despite sharing a fair bit of common ground musically. Bobby Bradford.S . at this stage there had been little interaction between the -. /otable as a rare meeting between two musical worlds. which were not in the habit of meeting at the time of recording L:. .avant6garde. But notable all the same.
The opener is the trac+ which has something most resembling a .close listening.pips. plus Nor$ay.where long. and drifting space music on the other. with musicians either . otifs are developed collectively almost li+e a . in some ball game( pace.power. dynamics. The album reviewed here may not be Guite so radical as Frame$orks or 5uintessence. not $ust as a vocalist who uses the voice instrumentally. but with !li. where it is almost impossible to tell them apart. &pecial mention should be made of 5ulie Tippetts. seem to stem from &tevens. is on interaction of what 8van Par+er sometimes calls the . usually by the whole band. bass and drums. There is plenty of give and ta+e. at which she compares favourably to her contemporaries. aggie /icols and /orma 'instone. or by complementing each other less dependently. while 3hythm 'iece bears some relation to the exercise +nown as . but at the way her voice is on eGual terms with the horns. artin Davidson should be than+ed for ma+ing so much of & 8.e4s dream L8manemA. it is a valuable and engaging addition to the readily available & 8 discography. as in Tolerance. role. There is a particularly seamless blend of voice and horns on Nor$ay. but there is nowhere much evidence of the straight ahead foregrounding of a soloist playing lines or runs . as the listener might expect. Bradford recorded again with &tevens and 'atts two years later in the company of 3ent )arter. +ind.pass.s music available on his 8manem label. This last number. apart from the elegiac tribute from one trumpet player to another. where the shortest possible notes are played. density are all varied so that it is as far removed as possible from the .agreeing. music deserving close attention. a rhythm section. toing and froing to such an extent that all the musicians do not play on every trac+. #Sandy 0indness& . in the sense of a well6defined piece of thematic material played at the beginning and end of a piece. The compositions may have nominal composers.0aryobin and other albums reaching the .. #ridget4s mother is all horns and voice. +ind of free $azz on one hand. 3hythm 'iece is almost entirely voice. which accentuates the #rmstrong L/ew @rleansA connection.above. +eening notes from horns and voice are $uxtaposed with a stop6time section from bass and drums. wor+shop exercise +nown as .A But the improvisation is truly collective.head.which is without drums and trombone. # constant dialogue is in play.hen. where all concerned concentrated on sustaining notes as long as possible.s teeth. but does achieve a compositional +ind of expressive continuum. category of rarity. as Bradford and 'atts do for a while at the beginning of Trane ride. by following each other. The results can heard on /o.drones. reacting and helping to shape the music.s development. momentum.The emphasis. L!i+e the other trac+s it is credited to a composer.
released as ?Personal Testimony0 on !ancaster0s )oncert #rtists record label in :. .A. The :. Porter 9ecords have now decided to re6issue a solo recording in which !ancaster. the original nine6trac+ album.A iss /i++i( . flute. and there are songs for family. but a significant addition nonetheless.n !oving+indness( Dogtown( 4oodoo( Brotherman( 'hat # 7riend 'e 4ave in 5esus( arianne and #licia( Brian( ind 8xercise2 L/ow C O==<A Prayer )ry( Tribalize !ancaster( #fro61ille( 7ree umia( Global 3ey( !oving Eou Personnel! Byard !ancaster> voice. recordings feature !ancaster on saxophone. is supplemented on this issue by five new recordings from O==< C not Guite enough material to ma+e an entire new album.+ 0a#el! Porter 9ecords "elease Date! O==. piccolo. piano and various bits of percussion.<. percussion Additional (nformation! Trac+s :6. Trac+s :=6:P are new pieces recorded by !ancaster especially for this re6issue Lentitled . a community activist. demonstrates his capabilities on a wide variety of instruments.ssue O of ?eartrip0A.A. reviewed in . has done much to bring $azz music to Philadelphia.' S'I.".Personal Testimony> Then * /ow. soprano * alto sax... 4aving released a very fine group recording by the Byard !ancaster -nit L?!ive at acalester )ollege0. ost of the trac+s are dedicated to various people and places of personal significance to !ancaster> one of the new pieces is for umia #bu65amal.<. bass clarinet and flute( the newer recordings are mainly !ancaster on flute. bass clarinet. Trac list! LThen C :.<. and for the community C !ancaster. ?Personal Testimony0. with the occasional use of voices as well. best +nown as an alto sax player. piano.*A"D 0ANCASTE" K P RS". loved ones.
whatever its detractors might say. &outh6#frican flavour. and it0s this sense of unfussy sincerity which mar+s out !ancaster0s playing on all the original ?Personal Testimony0 trac+s. a :. hazy Guality. the original closing trac+ of the album. ?4oodoo0. ?Brotherman0 mines the rich textural combination of overdubbed bass clarinets> breathy and sinuous. The gospel tinge heard on ?4oodoo0 emerges fully on a straight alto rendition of ?'hat a 7riend 'e 4ave in 5esus0. what emerges is much more metallic in sound. is the first trac+ not to featured overdubbing( it has a gospel flavour.t0s /ot -p To -s0. they pursue simple scalar patterns which hover around long. full of rhapsodic scales and chords. ?. and ? iss /i++i0 has a similar vibe. ? arianne and #licia0 emerges seamlessly from the last silence in the previous piece as alto and soprano intertwine around another supremely relaxed melody. which is predominantly vocal. as he tended to be stereotyped as a free $azz player C while ? ind 8xercise0.n !oving+indess0 has the gentle feel of !ancaster0s composition ?!ast &ummer0 Lfeatured on both the acalester recording and what is probably !ancaster0s best6 +nown album. combining a laid bac+. featuring guitarist &onny &harroc+A. #s more active improvised lines start to emerge. with some vocalised tones and fast fingerwor+ on soprano contrasting with the alto0s continued declamations of the theme. players li+e itchell and #nthony Braxton. lazy6 afternoon feel with a Guietly passionate melodicism. the piece loses none of its warm. without ?soul0. and swoop up to high. tongued exclamations. and is an upper6register exercise in the vein of someone li+e 9oscoe itchell. . !ancaster plays a very fine piano solo. melodically intertwine. ?. held tones. &uch a commitment to techniGue was never. has a $oyous. 9ather than the #yler6li+e vibrato one might expect. hints at some sort of futuristic bent with the subtitle ?)omplicated Planning O=J=0.@n ?8xactemente0. in their solo recitals. The piece concludes with !ancaster blowing melodic counterpoint on flute to a tape of a traditional #frican performance. &o to the O==< recording> ?Prayer )ry. ?Brian0 is an alto piece showing !ancaster0s be6bop roots C not something you hear that much in his wor+. were ta+ing the idea of the exercise. The flute and piccolo of ?Dogtown0 are more strident. for soprano sax. building shrill eddies and cascades of sound from the fun+y melodic line. though with a certain softness in tone as the notes die away. 9everberant flutes hover. the study.<U release with percussionist 3eno &peller. with overdubbed sung and whispered vocals adding $ust the hint of 9*B ballad. as !ancaster alternates between loud screams and declamations and barely6audible whisperings and mutterings. #s ichael )uscuna writes in his liner notes. focussing on a particular range or particular aspect of techniGue C such as the upper register C and transforming it into the basis of the whole piece.
'hile the :. with a dreamy feel induced by assorted inter$ections from flutes.<.?Tribalize !ancaster0 continues the feel with melodic flute over softly pattering percussion. almost to himself. ?!oving Eou0. at about seven minutes long. # rumbling. varied solo recording. should certainly en$oy this release. drifting out of an open window on a mellow afternoon. . provides a mellow conclusion. and singing softly. and those see+ing an accessible. is the longest of the new pieces C is built around rippling piano textures. as !ancaster0s languid spo+en vocals drift over overdubbed flutes on ?#fro61ille0 and the per+ier ?7ree umia.<.A. recordings is also present here. date overall has more variety.0 ?Global 3ey0 C which. voice and percussion and thumb piano. with !ancaster pic+ing out chords under his own flute melodies. 7ans of !ancaster0s wor+. the spo+en and sung portions giving the impression that what are clearly carefully though6 through performances have been tossed off in a Guiet hour. Despite the up6tempo emphasis. more dissonant central section flows bac+ into a calm conclusion. the feel of almost spaced6out calm that suffuses the :. #D$& TEE "EFO0/T(ONA"* ENSE&. there0s something nicely personal about the later trac+s.0E K!I '.
'ell worth hearing. in a music that0s as often about melodic flow as it is about the sort of propulsion normally associated with free $azz. Things vary from the variations6on6a6theme which opens the disc. etcA. in fact. as ever. Trac list! 1ietnam :( 1ietnam O Personnel! 5erome )ooper> percussion( &irone> bass( !eroy 5en+ins> violin Additional (nformation! 9ecorded at the peace church. transitions are seamless and there0s a total avoidance of the ?sawtooth0 model of improvisation Lrise to loud climax. he has the rhythmic subtlety and the instinctive understanding to contrib6 ute something to the texture without dominating it and without destroy6 ing the mood.ndeed. or varying the tex6 ture by repeating a particularly notable phrase. one might argue that in theory( in practice. suggesting a constraint which his nowhere present in the music itself( Guite the contrary. # re6issue of the first recording by this superlative group. The music fre6 Guently stops as individual members of the group ta+e solos. #t least. for the inventive sweep of this perform6 ance in no way feels formal or staged. punctuated by a distant harmonica. a necessary and wholly beguiling place. to the lengthy mid6section. given the dominance of much more forceful in6 strumental line6ups Lsaxophone. then rise againA. droning buzz which evidences imperfect recording Guality Lbut which ends up forming anoth6 er component to the music. avoiding the temptations of wal+ing bass or too much woody pizzicato. in which the focus becomes even more intense. Particularly at these moments. trumpet.<O. )ooper0s drumming is so subtle that it0s to forget $ust how hard it must be to play alongside two stringed instruments( and. where the employment of long silences. and the 9evolutionary 8nsemble0s music is very different to the crisp pointil6 lism of that trio. there0s a real sense of being drawn into a sound world that matters.B=s trio of Paul Bley. plays the most exGuisitely shaped lines with an ease and grace which belies the speed of thought reGuired for such man6 oeuvres. is $ust as happy forming a twin melodic strain to 5en6 +ins0 violin as he is falling into an accompanying role. @riginally released :. whose ?avant6chamber6$azz0 approach seemed something of a rarity at the time. and still does so today. @ne might even argue that the one lengthy piece presented Lsplit into two trac+s for the !P releaseA is some6 what episodic. the term ?chamber $azz0 may be somewhat mis6 leading. in a serendipitous meshA. rhythm section. 5en+ins. . 5immy Giuffre and &teve &wallow for something comparable.n terms of small group wor+. sits eerily against the loud. .0a#el! 8&P6Dis+ "elease Date! O==. you0d have to go bac+ to the early :. #nd it0s a mood Lor series of moodsA that0s sustained throughout the album. subside. &irone. #D$& . moves to another level of concen6 tration.
his debut album. that "only )harles Tyler of the #yler unit has the big wailing heavy alto sound that satisfies my particular need for flesh and blood.% . tending to state the melody and ta+e a brief solo before leaving space for 5oel 7riedman. displays a stri+6 ingly forceful alto tone on this. best +nown as a baritone player./- 0a#el! 8&P6Dis+ "elease Date! O==. the other most dominant voice in the band. Tyler doesn0t play as much as might be expected. around whose .n fact.S . this +ind of free $azz setting is one where ?forceful tone0 is par for the course.CEA"0ES T*0E" K C(AR. Granted. Trac list! &trange -huru( !acy0s @ut 8ast( Three &pirits( Blac+ ysticism Personnel! )harles Tyler> alto sax( 5oel 7riedman> cello( )harles offett> orchestra vibes Ltrac+ :A( 4enry Grimes> bass( 9onald L&hannonA 5ac+son> drums Additional (nformation! @riginally released :.R . around the time. to #yler6 li+e levels of vibrato6heavy intensity and scalding multiphonic shrie+s. )harles Tyler.S '+.BB. fully $ustifying !eroi 5ones0 comment. yet it seems to me that Tyler really does ta+e things outer than out.
and Tyler does employ this approach at times. The combination of cello and bass is an interesting one. is far from orthodox ?fire music0. offett0s al6 ways prodding him onwards with spar+ling fast runs.n large part this is due to 9onald &hannon 5ac+son Lwho0d played along6 side Tyler in #lbert #yler0s bandA demonstrating a particularly sharp sense of his role in relation to the other group members. often by speeding up the pulse to sustain a whirling. ?. with a much more mysterious and muted atmosphere. This is a fine record6 ing all round. playing super6fast runs and hon+6tonguing clarion call after clarion call in a vicious.n &earch of the ystery0 Lalso recently re6issued by the labelA. the sense of linear time engendered by the theme6solos6theme format of traditional $azz. @f course. Tyler0s +eening improvisation over arco strings when he re6enters the opening piece. trance6li+e atmosphere. but. sometimes dropping out altogether. in order to allow the full colouristic implications of the unusual instrumental line6up to assert themselves. though sometimes the cello sounds li+e it0s on the verge of smooth lyricism. buzzing lower register. where &irone and )alo &cott are the musicians in Guestion. pushing 7riedman on in6 stead to rough rhythmic scrapes and woozy slides around the instru6 ment0s high register. .cello lines weave )harles offett0s tin+ling ?orchestra vibes0 Lsounding oddly and eerily child6li+e in such an avant contextA and 4enry Grimes0 typically active bass. ?&trange -huru0. Thus. the other musicians don0t allow that to happen. or at least complic6 ated. also to be found on the one date Gato Barbieri cut for 8&P. less rhythmically static and less fo6 cussed on melodic improvisation C even when 7riedman suggests fol+6 tinged modes with an 8astern 8uropean or 5ewish flavour. That said. #D$& . where Tyler really gets the chance to wail. he does he whip up plenty of $ittering energy else6 where C on the final trac+ in particular. this being an 8&P Dis+. as on the aforementioned passage in ?&trange -huru0. uch B=s free $azz abolished. his en6 semble is also capable of slowing almost to a stop> a different +ind of suspension. This album is perhaps less claustrophobic than the Barbieri.
.". Lincl.A0I. Num#er of Pages! J=.': . indexA .I.D '( R ."D R.S DA!IS3 0I. .$ "F .OOK "EF(E+S "(CEA"D +(00(A&S K '( /-) .)SIC Pu#lisher! 7aber and 7aber Pu#lication Date! O==.D "F /-) A..
nterlude> @utside in Blue( The Blue oment( Blue 'aves( Blue 4orizon( Dar+ Blue( &o Blue( Blue Bells( )ode Blue( Blue on Blue( )oda> Permanent Blue( 9eferences( #c+nowledgments( . 'illiams is simply writing the way that many listeners actually do and did experience music such as Davis0( those who have missed catching the live act through a combination of money and circumstance.ndian6influenced late B=s and early <=s wor+ L?. This would seem to relate more to Davis0 similarly . ?@range !ady0 and ?4e !oved 4im adly0A rather than to ?Blue0 C though of course Davis had had at least some influence in terms of the modal music freedom and the impressionist atmosphere of the introduction to ?&o 'hat0. The problem here is ma+ing any one album a template. by association. Perhaps.n a &ilent 'ay0. and is particularly ironic given Davis0 refusal ever to stand still in his career. a talismanic ob$ect. .nto the Blue( The &ound of Blue( Blue oods( Blue Dawn( &ix )olours LBlueA( . to freeze his or her wor+ at a certain time. at least partly. it was $ust another recording session. to ma+e it live on in a series of mar+etable artefacts rather than to develop and grow in a live. as a fifty6year old talisman overshadowing all which comes after. when actually. as 'illiams ac+nowledges in his introduction.ndeed. 9eich and its incursion into the roc+ music world via the 1elvet -ndergroundA. with the album forced to bear the weight of the history of an entire music Land. @nce we get past the description of the actual album itself. for the players. This is part of a tendency to ma+e the music static.ndex &o here we have yet another boo+ on iles Davis. 9iley. organic context.Contents! . and given the fact that 'illiams is trying to chart a series of changes and developments spar+ed by the initial album. and proceeds to digress into a more sweeping survey of :. the time best suited to our own needs. the boo+0s raison d6etre. The artist. and the recording circumstances surrounding it. all of its dependent and shaping contextsA C a tas+ for which no one album is suited. and how this was impact was felt among listeners and among other musicians. That said.B=s drone6influenced music Lthe minimalism of Eoung. 'illiams seems to feel liberated into the more broadly contextual element which is. about half the boo+ is a history of Davis0 career in the years leading up to and including ?Blue0( something #shley 3ahn0s boo+ of a few years ago had already done. But 9ichard 'illiams promises something different> an attempt to analyse $ust what it was about ?3ind of Blue0 that made such an impact. furthermore. though. and one which deals. rather than simply another case of reinforcing its mystiGue as a ?great0 art ob$ect. moving .ntroduction( . he notes that "creative musicians are often $ustifiably suspicious of the way their listeners invest emotional capital in specific recordingsF7rom such an instinctive affection can come the urge to force an artist to stop.
and after. the opposition between #frican and 8uropean approaches Lthe legacy of which becomes increasingly apparent in the ideological debates over the ?/ew Thing0. # chapter. it falls short on topics which could easily have been discussed. the opposition between the expression of ?innerness0 and of a more collective spirit> here. even if his use of the buzz6words ?truth0 and ?beauty0 too often goes unchec+ed C or collects revealing Guotations from. in which 'illiams briefly treats of the existentialist2cool outsider milieu of the :. 'hich is why the boo+ is best when 'illiams simply describes the music C he0s a critic with a fine prose style. a $ournalist0s collection of Guotations and generalising statements. .P=s L)amus. does not necessarily see it that way.ndeed.% but goes no further. this boo+ is an attempt to capture something of the actual listening experience. of ?fine craftsmanship0 and clear structure Lwhereas Davis0 pithiness and strong melodicism leant itself much more obviously to that modelA. in particular. began to increasingly utilise a fierce.on. is on the right trac+. but seems rather unfocussed. Brian 8no and Terry 9iley. oravia. he seems uncomfortable with thematic or theoretical analysis Lby the latter. then. surrounding the commercial aspects of modern musical production and consumption and the economic and political circumstances so vitally a part of the ?$azz music0 of which ?3ind of Blue0 is ta+en to be the supreme representative. rather than existing simply as an ?ob$ective0. and this perhaps because it did not conform to a notion of western ?elegance0. detached chronicle or history of what happened in :. 'illiams turns in a nice description of )oltrane0s soloing as the "public expression of an inner Guest. thin+ perhaps the problem is that. brash upper6register approach as the B=s wore on( ?introspective0 Bill 8vans turns in a particularly energetic performance on George 9ussell0s ?)oncerto for the Billy the 3id0( and even &tan Getz could be more than mellow.A #nd. @r. mid6register trumpeter. . we are presented with tantalising hints at areas which almost open up into more extended investigation. astroianni and &trand cigarettesA. another opposition. too often. between ?hot0 and ?cool0 approaches to $azz Lthough in some ways this was falsely set up> Davis. 7or instance. so often ta+en as the supreme ?cool0. or one0s critic in$unction to #nthony Braxton> "stop essiaen around%A.nterlude0. don0t mean a narrowly musicological approach. but one which is willing to address the ?wider issues0 relating to the music with more than to+en or sweeping gesturesA. . non6western influences became .% But if.P. perhaps connected to this. as )oltrane0s playing developed. but which then sin+ bac+ again as chronology ta+es over. tellingly described as ?. 'itness )oltrane0s presence on ?3ind of Blue0> one solo was described as "angry%0 in a Down Beat review Lwhich 'illiams Guotes in fullA. Thus.
and raga6li+e lengthA. whether these be #frican Lthe rhythmic propulsion and emotive. #nd we musn0t forget Davis0 later. more formally adventurous and ?aggressive06sounding :. Thus. overlain with dissonant. a collective construction. rather. tablesA. given its expansion of tonality. this sort of thing feels li+e a +ind of avoidance( as if 'illiams holds himself bac+ when he thin+s he might be digging too deep. despite its claims to be a response to . non6standard instrumental cries on ?#frica.increasingly apparent. drum choirs Lsee . but that that0s @3. !loyd0s wor+ on 8) often conforms to the stereotype C ?!ift 8very 1oice0.ndia Lsitars.ndeed. via the -&#A met . #t times.2:: Lor perhaps because of themA remains muted to the point of ennui6 inducement. a world where oppositions between different musical cultures are not erased. where 5ames Brown L#frica. instrumental colour. because there0s a bit of free $azz there too C which doesn0t address the accusation of a generalised bloodlessness. and &toc+hausen Lwhose own ?western art6music0 was profoundly influenced by the music and philosophy of non6western cultures( witness ?&timmung0 or ?)eylon2Bird of Passage0A. aggressive. one could even see ?3ind of Blue0 as leading to free $azz or improv. ma+ing instead the much easier connection to 8) atmospherics and to minimalism0s return to simple tonality C though he conveniently forgets that Davis himself was less interested in endlessly rehashing melancholy ballads than in adopting an approach which fore6grounded powerful rhythms. to laying stress on an overall sound. The #rt 8nsemble of )hicago. exceptions granted. Eet. cultural elements mixing together while the remaining traces of opposition between them generate a creative tension that contributes enormously to the music0s dar+ and disturbing Guality. &uch experimentation suggests some +ind of synthesis between the oppositions s+etched above C or. Debussy.<=s wor+. effects6laden guitars and +eyboards. 'hich simply ma+es it sound as if most of the music is bloodless. 'illiams contrasts it with free $azz. and its move as a whole away from be6bop constrictions and emphasis on technical virtuosity. 'adada !eo &mith and )harles !loyd alongside the usual suspects> Garbare+. or .A .ndian Lboth in terms of timbre. form and time Lmost explicitly in the 8vans2)hambers introduction to ?&o 'hat0A. 'illiams does little to counter the usual criticism of 8) when he argues that anfred 8icher did not create "a bloodless 8uropeanisation of $azz% because the label0s catalogue contained wor+ by Don )herry. if anything.ndeed. but remain in some sense sublimated. 5arrett.0 from the ?#frica6Brass0 sessionsA. et al. .an )arr0s analysis in his iles biographyA. L. But 'illiams does not really raise the issue at all( all we get are the usual anecdotes about Davis being impressed by a performance of #frican dance and the assertions that Bill 8van0s playing demonstrated the influence of 9avel. et al.
pretty well6discussed topics C is left undone.t0s typical of the way the boo+ comes increasingly to feel li+e several Guardian articles stitched together. . after all. which is fine in itself Lreading li+e a well6written newspaper reportA. )onseGuently. but which has nothing to do with Davis or ?3ind of Blue0( and 'illiams does not even attempt to ma+e the connection.D: R !"-)'I".AR+ 9A11 C"! R AR' 6. #D$& ST/A"T .8 R(+'(. ?The Blue oment0 is not as incisive as it could have been. : S").The boo+ ends on a description of a visit to !a onte Eoung0s Dream 4ouse.<=>?@ .AKE"I %(00ES PETE"SON K FR D". with maybe a few sentences on Davis or ?3ind of Blue0 to +eep the thread going> they0re decent articles in themselves. but the real wor+ C the tas+ of drawing together thematic areas and expanding beyond the usual chronological histories of what are.
it might have been nice to have some writing about the art itself. crystallizes a sense of continuity and thematic unity which can only enhance one0s appreciation for these record covers as wor+s of art in their own right.E ethos that was so vital to much of this music in the third paragraph to his introduction. as one can with this boo+. -nfortunately. is probably the first of its +ind. radical chic to hang up on the wall. scattered throughout the boo+. with a stri+ing cover of star+ blac+ letters on a bright yellow bac+ground( glossy pages( unobtrusive text nestling next to and underneath carefully6 arranged pictures( and image upon image. this tends to be information which could be gleaned from a Guic+ internet search and which is basic at best. 'hile coffee6table $azz boo+s are common. considering the fact that this is a boo+ about the cover art of these records.<:. 9hythm and &ound. for an exhibition catalogue. That said. page after page C a wide and eclectic selection of the cover art to better and lesser6+nown albums. 7urthermore. 'hile Ba+er0s introduction does hint at the D. such a glossy wor+ does reflect the way in which any image can become assimilated into a process of production and consumption C which embraces free $azz and its radical socio6political2 religious roots as simply a lifestyle choice. But seeing them all together in one place.n terms of layout and appearance. not simply pretty or arresting wrapping for the aural treasures within the record sleeve. Num#er of Pages! :<. #ware of this. . mention of #miri Bara+a and 5ohn )oltraneA and preferring to concentrate on the safer factual approach C ?in :. or those who have become almost unconsciously familiar with these sorts of designs through trawling out6of6print music blogs. The text therefore comes across as a rather cursory run6through of all the relevant sources and pieces of information( it reads li+e something put together competently. he doesn0t return to the theme. 7urthermore. coffee6table free $azz boo+s are understandably less so( come to thin+ of it. and potted biographies of various +ey figures. ?7reedom. but not very enthusiastically. what he does say in this section contains a number of assumptions which could have . touching on ideological and political issues rather fleetingly La one6sentence Guotation from the Blac+ Panthers. the boo+ is impeccable> a large hard6bac+. so6and6so moved to Paris0 C which is the $azz critic0s preferred domain. &tuart Ba+er0s text provides context through a brief introduction outlining the history of free $azz. many of the images will be recognizable. 7or those whose shelves are crammed with original !Ps.0 published by &oul 5azz 9ecords Lwho have a good eye for design themselvesA.Pu#lisher! &59 L&oul 5azz 9ecordsA Publishing Pu#lication Date! O==.
&ure. D. originating as a record of what $azz clubs loo+ed li+e. studio shots and Guic+ location set6ups C although this was a contrast already blurred by classic $azz photography. in urban and natural wastelands. apparently oblivious to the photographer0s presenceA. alone or in groups. was steadily manipulated into a commercial and conventional image> saxophonists shown playing their instruments with cigarettes between their fingers. Ta+e this sentence> "7or reasons of economy. as well as listen to. ?$ust li+e that0> it was the process of long searches. . while others continue their conversation in the bac+ground. we often see shots of artists. it0s Guite the opposite> placed against a world of endlessly6exchangeable commodities. and the product of particular historical developments and struggles which should not be reduced to simplified clich]s. or. here is evidence that something is worthy of the time and effort reGuired to produce a beautiful. is not collusion with commercialism or with the mainstream music industry. something that has been crafted and shaped with close attention to its material and ideological Gualities. posed composition L5oe cPhee0s ?/ation Time0A and off6the6cuff. some of the artists are loo+ing towards the camera. blowing hard with their eyes closed in passion LBraxton0s ?sweating brow0 syndrome. @ne might argue that to have something which loo+s appealing in this way is not ideologically suspect. the sharp distinction Ba+er draws between ?raw. The analogy between free and spontaneous music and free and spontaneous art elides the fact that the music didn0t $ust happen. 'hat of the artwor+ that isn0t ?raw0D 'hat of the careful design of tume0s ?#l+ebu6!an0> blac+6and6white and hand6drawn. by the aesthetic appeal of having a record which one can hold in one0s hand and loo+ at. handmade0 free $azz art and "the slic+ presentation of $azz by the mainstream music industry% feels too simple Leven if he does attempt to cover himself with the Gualifying words "often% and "many%A.%. but by no means crudeD 'hat of the use of photographyD 7or instance.E. with hand6drawn graphics and simple typesetting C a million miles away from the slic+ presentation of $azz by the mainstream music industry. long periods of study. There might be something to consider in the contrast between posed. There has been debate in free improv circles recently about the role played by the physical ob$ect. spontaneous document Lon /oah 4oward0s 5udson 4all recording. where the illusion of a smo+y glamour. we see . individual ob$ect. . stri+ing a +een balance between careful. perhapsA.done with being addressed. Given this.n fact. later. the artwor+ is often stri+ingly raw C many were star+ly blac+ and white. to have produced a boo+ devoted to these album covers C we must also accept that their creators should also be accorded with more than a name6chec+.f we accept that such ob$ects are worthy of respect and study C as the publishers of this anthology must do. long processes of thought.
yet it is undoubtedly a part of the aesthetic appeal of the music.t would surely not have been hard for them also to have commissioned an essay by an art historian or some other writer with some +nowledge of the time period C or to have contacted some of the cover artists themselves. interviewing them.0 having ob$ected so strongly to the photo of a yacht6bound white woman slapped onto the front of ? iles #head0. after all. iles Davis0 placing of blac+ faces Lhis and )icely Tyson0sA on ?&orcerer0 and ?/efertiti.names in the credits below the imagesC painters. not to feel that an opportunity or several have been missed here. their use of tapestry with motifs from non6western cultures. could have analyzed the role of the musicians themselves in putting things together Lmany artists have a design credit to their nameA. or these writers. they have sought out permission from a number of artists and labels to use the images included. or does it have something more to offerD 'hat about the use of group photographs as a statement of collective identity Las opposed to the fetishisation of one particular musician as the ?star0 of the band. their own contribution. !i+e it or not. a record sleeve is identified in the listener0s mind with the music it contains C and this arguably still the case. gleaning some information about the processes which went into creating the covers. and unusual colour schemes all ma+ing a conscious brea+ from the blac+6and6white. their own ideology.t0s hard. #nd then we might as+> what about the role of ?wac+y0 psychedelic images C inverted colours. we are not told that the covers of the various Don )herry records are tapestries by his wife o+i. 7or a boo+ that honours their wor+.s it merely superficial decoration. and a lot of wor+ in putting it together in an aesthetically pleasing way( furthermore. could have analyzed differences and similarities between designs. 8ach of these people had their own story. 7or instance. L4ence devoting an entire boo+ to album covers. an element of the free $azz movement which never receives much attention. then. even in the age of multiple downloads nestling on a hard drive as cover6less PJs. photographers. simplified forms. . where a female hand . as the list of ac+nowledgements shows. This writer. Bridget 9iley6esGue swirls and abstract patternsD 4ow does that fit into the current of the timesD . distorted photographs. smo+y aesthetic of Blue /ote or Birdland. would it not have made sense to honour those that made itD . their own involvement. 1isual art is. whose image alone adorns the recordsAD 'hat about comparisons with more mainstream $azz coversD C for instance. designers C but they remain simply names. and moving away from the cover of ?Porgy and Bess0. Gilles Peterson Lhis fellow compilerA and the publishers have clearly put a lot of wor+ into gathering together information for the boo+.A Ba+er.
s a &ow 'hich Devours its @wn 7arrow( atthew 9yland C )ompany 'or+ vs. and. 8xplanations of the significance behind the symbols and ob$ects that appear again and again C idols. Num#er of Pages! :.mprovised &ound 'or+( /ina Power C 'oman achines> The 7uture of 7emale /oise( Ben 'atson C /oise as Permanent 9evolution or.artele+u. The lac+ of any such analysis perhaps stems from the fact that ?7reedom 9hythm and &ound0 has been put together in the manner of a )D compilation.mpulse re6issueA."IS : CAPI'A-IS. to my +nowledge. Pu#lisher! #rtele+u #udiolab L3riti+a seriesA. which can be obtained from attin0s website Lhttp>22mattin. gathering together rare material from various dusty corners in true record6collector fashion LGilles Peterson is.mprovisation . ?7reedom 9hythm and &ound0 is. third eyes C would at least indicate that they were being ta+en seriously. etc.dea of . -nfortunately. #D$& &ATT(N 4 ANTEON* (0ES (ed3) K .mprovisation> 9emar+s on a usical Practice and &ome 8conomic Transformations( 4oward &later C Prisoners of the 8arth )ome @utI /otes towards ?'ar at the embrane0( attin C #nti6)opyright> 'hy .: Contents! #nthony .les C . pyramids.orgA in exchange for live tapes. Donostia6&an &ebastibn LGipuz+oaA Pu#lishing Date! &eptember O==.pdf . where the music on a compilation can be allowed to spea+ for itself C or has been spo+en about in numerous boo+s and articles which can be separately trac+ed down C the same cannot be said of this cover art. while its regrettable that it didn0t delve as far into things as it could have.net2audiolab2noise[capitalism.n usic and )apitalism> 9esisting #uthority and the )ults of &cientism and )elebrity( 9ay Brassier C Genre is @bsolete( Bruce 9ussell C Towards a &ocial @ntology of . The B=s and <=s may have been a time when a sense of the ?spiritual0 often spilled over into incoherent babble and superficial bullshit C everyone was peppering their wor+ with symbols and allusions C but there are clear ideological messages at wor+ in the free $azz designs which mar+ them out as more purposeful than mere hippie paraphernalia Lthough there may be an element of that as wellA. after all.ntroduction( attin C Going 7ragile( )saba Toth C /oise Theory( 8dwin Pr]vost C 7ree . the boo+ can be downloaded as a free PD7 from http>22www.mprovisation * /oise 9uns #gainst the .ntellectual Property $urther (nformation! #s well as the published edition. rather than as mere fancy decoration. @r the gorgeous super6imposed face effect on ?7illes de 3iliman$aro0( the psychedelic colour6shape of ? iles in the &+y0( and the ati 3larwein cover art to ?Bitches0 Brew0 and ?!ive68vil0. liGuid landscapes reflected in the painting on the front of &un 9a0s ?The /ubians of Plutonia0 Lthe . 3larwein0s use of #frican figures and transforming. the first boo+ to pay attention to the visual aspects of free $azz records.stro+ing a trumpet reinforces the blac+ sexual stereotypes associated with $azz. Patrician 9adiers( atthieu &aladin C Points of 9esistance * )riticism in 7ree . 'hy )ulture . its images do provide ample proof that this is very fertile territory for future explorers. a true record6collectorA.
but more often than not it centres on $azz and #merican practices. but which can impose a narrowing of focus when one considers that much noise and free improvisation is created by non6#frican #mericans who are not living in the particular historical context of a racially6oppressive society Lthough of course one with its own deep networ+s of imperialism. &erious intellectual examination of music. )onseGuently. @f course. as practiced . alienation.A.This is fantastic stuff. there is a smallish swarm of intellectual activity surrounding the sort of issues discovered here. *c. discussions tend to get sidelined into the race issue C an issue which is crucial for the development of that music.
one of which.by some of the $ournalists from ire magazine. whose numerous writers approach their topics from any number of different disciplines or models C feminism. 8ust another ob8e+t in the produ+tion line manufa+turing desires and wants . to some. whose boo+ ?&ync or &warm0 approaches free improvisation from a primarily scientific perspective Lapplying fractal and swarm theory to the mental processes involved in ma+ing music in this mannerA. intruding on their desire for a generalised ?underground0 freedom to en$oy their niche of generalised musical resistance to the ?mainstream0 Lrepresented by such easy6target bogeymen as George Bush andFum. the old reviewer’s ta+ti+4 lay out the produ+t’s uni$ueness and everyone will rush to get hold of it to satisfy some new thrill. li+e over+ill. *c.mprovisation. ?Going 7ragile. may also find itself restricted by the necessity of providing a review of a product Lwhether a live performance or an albumA which evaluates that product on aesthetic grounds first and foremost C and whose audience may resist the presence of critical theory> too much politics for them to swallow. 1 7es. in the pursuit of a deeper and more complete sense of what it means to be human and to live in the modern world. Gueer theory. but it is surely evidence of a very deep commitment and a rigorous refusal of easy realities and comforts. he advocates an approach of ris+6ta+ing in free improvisation. But this boo+ is different from all that. and in the e6pages of the online $ournal )ritical &tudies in . one of the few who really ta+es the notion of praxis seriously and attempts to apply it in everything he does. &uch a concern with the tiniest material details of production and their relation to socio6political issues might seem. because its aim is to ma+e politics $ust as much as its sub$ect as music. attin is a fine writer of manifestos. an ?irrelevance0.ntroduction Land was previously C and is currently C available on his websiteA. this boo+ is different Lin a really useful wayA. Britney &pearsA. the cover consists of a transcript of a conversation between the three designers Lone of whom is attin himselfA as to how the binding might reflect ideological biases relating to the words within. 7or instance. or manifesto6li+e pieces. This idea of ris+ is a crucial one in the boo+ as a whole C perhaps unsurprising given attin0s involvement. race. #s well being a fine performer. /ot that these are the only intellectual examinations available> fine writing has emerged in recent years from David Borgo. resisting the trade6mar+ing of one area of sonic activity or mode of approach and being open to those moments when failure seems most li+ely.0 follows the . L/B> refer to footnote before reading further. and to see the two as fundamentally lin+ed Lhence the eGual weighting C noise and capitalismA. when crisis prompts the human to be most resourceful. 4ere.A: Ees.
This may brea+ down the traditional barriers between a passive. elevated performer Lthin+ the People Band handing out percussion instruments at gigs. while many free players are intensely dedicated musicians with rigorous practice regimes. etc being a form of ?hauntology0AA.% Lp.The collection0s different authors have C healthily C different views on issues musical and political. Pr]vost posits free improvisation as a practice which contains the possibility for a genuine social interaction Lthrough musicA which might evade the otherwise ever6present clutches of capitalist relations( an alternative system. free improvisation remains a form Lor. perhaps more accurately. ?/o &ound . 3arl arx Lwhose popularity has slipped with the growing trend of politically6minded music critics to draw on post6modernist theory Lwitness the big hoo6hah over the music of Tric+y. direct dialogue can ta+e place.tself0. or even 9oland 3ir+0s distribution of whistles to the audience at 9onnie &cott0sA. )ertain material conditions have to be met before any music can be made. conceived as a specialist with utterly rigorous and time6 consuming methods. as he admits> "V7ree improvisation0sW practitioners are not immune from the basic reGuirements of existence Lwithin capitalismA which enables them to continue living.mprovisation0. perhaps more surprisingly.U:A /onetheless. in Pr]vost0s argument. The first of these is the rigorously scientific approach of the Darmstadt &chool. i+e 4effley0s ?# )omposed Theory of 7ree . 7ree improvisation. as Pr]vost points out with regard to . is also made to steer a course between the other ma$or avant6garde alternatives in twentieth6 century LclassicalA music. But. but remains a deft and succinct history lesson2 negotiation of positions. non6specialist audience and a separated. Pr]vost is not arguing that free improvisation is some sort of utopian realm in which that alternative social reality can actually exist as a totality. and in which specialisation and elitism can be reduced> for. for. http4//www artandpopular+ulture +om/9auntology . processA in which unmediated. see also George !ewis0 ?# Power &tronger Than .nnocent0 and ? inute Particulars0. free improvisation is nonetheless an activity open to anyone.s . wherein results fairly similar to those which could be achieved in free improvisation were solely the province of the composer.O 8ddie Pr]vost0s essay treads lines familiar to those who have read his two full6length boo+s. and #nthony Braxton0s ongoing large6group pro$ects in the field of Ghost Trance usic and Diamond )urtain 'all usicA. something with the in+ling of an alternative social reality Lon which. even though they might be put broadly into the camp of leftist advocates of musical experimentation as a form of praxis> freGuent reference points are Guy Debord and. Burial.
. a composer whose wor+s demand and involve an excess $ustified solely due to the part they play in the building up of this legend( an overpowering by scale and LapparentA audacity with the mystifying effect of a religious ritual. even though a playful sense of enGuiry is at the heart of the exercise. in which the musicians0 performances in different helicopters are radioed bac+ to the concert hall and mixed live by the composer. 'hy do &toc+hausen0s supporters maintain the idea that unpredictable sounds emerging this way.B. such arguments freGuently went against what actually happened in the realisation of these compositions as sound. than+fully. sub$ect to some scientific calculation. #nd there is no good reason why it should be repeated> except to capture and exclusively enslave the sounds C and maybe exploit them financially. a Debordian spectacle. i. .e.t is not. here criticised for the removal of social relation and human intention from the process of music6ma+ing. and of mar+eting opportunity. but without even the content of that ritual C truly. the adoption of ?chance0 and ?random0 elements. #ll this. serving to propagate the myth of &toc+hausen as a larger6 than6life mystical genius.t is not repeatable.endi of an improviser. by the performers. The prime target here is )age0s long6term collaborator David Tudor C who was hauled up on precisely the same grounds by )ecil Taylor in #. The second approach to come under Pr]vost0s scrutiny is the apparently more affable )ageian school. &uch a free and spontaneous approach. of course. Thus. constitute his ?composition0D #s a long6standing tam6tam player myself. $ust as composers areA.% Lpp. rather than as theoretical exercises on paper LscoresA> "9eading 3arlheinz &toc+hausen tal+ing about the development of this ?composition0 it becomes very clear that his own explorations with the tam6tam proved to be difficult to notate or even to repeat with any hope of accuracy. The interface between materials and the person has a special individual imprint.PU6PA Perhaps the veneration of the composer has something to do with the cult of celebrity Ltying bac+ to the much older tradition of ?heroism0 C and. +now and re$oice in the uncertainties of the instrument. to me.0 La detailed exploration of the myriad complex and unusual sonorities to be coaxed out of a tam6tamA. &pellman0s ?7our . is an unmediated and an unfettered response to the world. which is the general modus . as music. . seems to be a signifier and a celebration of humanity and not at all scientific. The Guestion one has to as+ is. the attempt to remove personality and to simply ?let the sounds be sounds0. am always amazed that different people using the same +ind of instrument seem to manage to produce such a diversity of sounds. the infamous 4elicopter Yuartet. heroes are predominantly male.i. why not let the musicians themselves ma+e theses sonic enGuiriesD. is an enormous spectacle.&toc+hausen0s ? i+rophonie . .
a freedom which exists for no real purpose and to no real end. Thus. considering political theories and realities while remaining closely focussed on how these might and have related to actual practice. and sound art( more interestingly. is that "any so6called ?freedom0 is totally dislocated from any human ob$ective 6 except the perverse satisfaction of carrying out an irrelevant instruction. to the flow of the musicA( it is a pointless freedom. This practice is nigh impossible as well as being perhaps of no particular conseGuence. which always carries with it some notion of res'onsibility Lto oneself. artistic. sacrificing both the self and the social to some idealized concept of nothingness. ?/oise0 could fit with Pr]vost0s ideal concepts of free improvisation if it is ta+en as a term signifying the opening up of spaces within and against the system of modern6day capitalism.% a term which has come to designate precisely that loud. of which Pr]vost so disapproves.% Lp. ?/oise0 not only designates the no6man0s6land between electro6acoustic investigation. often careless and uninspired usurpation of material by means of samplingA% Lp. bringing about the freedom to do anything.BOA 4owever. @f course. had to learn how to cancel my consciousness of any previous moment in order to produce the next one. But there is something self6deceiving in the idea of trying> ?to cancel one0s consciousness of any previous moment0. in the following essay. counter6cultural C with little in common besides their perceived recalcitrance with respect to the conventions governing classical and popular musics. we might safely say that Pr]vost0s sub$ect is acoustic free improvisation. with a minimum of fuss and academic name or $argon6dropping. to the other musicians.!ives in the Bebop Business. in the above Guotation.P=A The freedom thus achieved is thus a very different one from that of free improvisation. by 9ay Brassier> " ?/oise0 has become the expedient moni+er for a motley array of sonic practices C academic.0 Tudor once remar+ed> ". Perhaps Tudor. ?/oise0 has also become C to Guote Brassier once more C "a specific sub6genre of musical vanguardism. was explaining some of his own strategies for trying to escape ?the anticipated0 in performance. to actual music6ma+ing.% Lp. oppressive.g. But its presence in this anthology leaves a number of unanswered Lor perhaps one might even say un6raisedA Guestions> for instance. as Pr]vost notes. free improvisation.% The problem with this. harsh electronically6induced volume and playful2subversive use of sampling to challenge notions of genre and the origin of material. given the reiteration of his disli+e for "abuses occurring in music Le. 'ith .P<A. it refers to anomalous zones of interference between genres> between post6pun+ and free $azz( between musiGue concrSte and fol+( between stochastic composition and art brut. This is all well argued. the oppressive use of electronically induced volume and the indiscriminate. to the audience. avant6garde experiment.
more broadly. for example. #scension. Ben 'atson C as usual C combines rabble6rousing Guasi6manifesto gestures and sharp analysis of the lapses made by his various targets Lin this case. fingers. and ?Pin+ /oise0. and a shorter piece consisting solely of the sounds of typing on a computer +eyboard. 8xtrinsic formal structure Lwhether song or composition or trainingA prevents us seeing what0s right under our noses> instruments. the relation of free improvisation to noise Lor free noiseA. we might move on to loo+ in more detail at some specific essays.regards to this. ire magazine. people.n this particular piece. and the role of theatre and performance in both Lsomething . . techniGues and s+ills> #sger 5orn0s childish scribbles.4. 5ohn )oltraneA. and their uncritical treatment of the whole ?/oise usic0 sceneA. ?Proletarian of /oise0. with the valorisation of a chosen few L!endormin. But now. attin. performs in both very Guiet contexts with 9adu alfatti and extremely noisy and disrespectful contexts in which he constantly challenges expectations. issues arise such as the relation between loud electronics and Guieter acoustic instruments. .0ve come to feel increasingly neglected in the rather staid performance context of much free improv C of which more laterA. achievements. Dere+ Bailey0s ?can0t play0 guitar.0ll come bac+ to such Guestions in a short while. 5. Guote> " odern art is an eruption of immediacyF rubbishing all previous cultural standards. in a Guite aggressive way> for instance. as Pr]vost might desire. he also insists vociferously on a +ind of cult of amateurism and the unlearning of techniGue which seems to me to ignore what actually goes on in the musics he so loves. . and. ears. . Prynne0s ?incomprehensible0 poetry. which includes a half6hour trac+ consisting of the reading of a text punctuated by extremely long silences. where he lays down J= minutes of ear6bending feed6bac+ over which 5un+o simply screams C hardly a model of social Lor socialistA interaction.
amplifiers, attention, inattention.% Lpp.::U6:PA These are the things 'atson values, as he0s made clear in his critical wor+ throughout his career C and he0s entitled to such preferences. But, as he implicitly ac+nowledges by putting ?can0t play0 in scare Guotes, Bailey0s approach to the guitar was very different to what such a tag would suggest Lsee, for example, Dominic !ash0s description, available on the .ncus website, of Bailey0s notes towards a planned, but never written boo+ on guitar techniGueA.J Prynne, meanwhile, is ?incomprehensible0 not because he0s a surrealist ranter or a primitivist sound6poet, but because of the sheer crammed range of intellection, reference, allusion and suggestion that bursts from virtually every word of his wor+. 'hat 'atson is doing here is ta+ing accusations commonly leveled against ?avant6garde0 artists, and then running with them as if they were true, and a good thingI To ta+e another example, his use of )oltrane as an exemplary figure for a raggedy collection of free $azzers, free improvisers, roc+ musicians and figures somewhere in between Lsuch as the .talian group !endorminA may in some ways be entirely accurate C but it does a disservice to )oltrane to implicitly construe him as some +ind of primitive, unlearning techniGue for new pastures of uncharted freedom. 7or me, that0s a dangerously simplistic explanation C the same sort of thin+ing you get when roc+ critics name6chec+ ?@rnette )oleman0s free $azz playing0 and believe that this somehow ?explains0 Don 1an 1liet0s vastly different approach to the saxophone. @3 then> contra 'atson, )oltrane0s music is not an abdication of techniGue, but techniGue ta+en to the nth degree, in the service of expression and of noise Lif we understand noise as overburdening of information density, as something we can0t yet understand, rather than $ust as regression to primitive yawlingA. .ndeed, it0s far more helpful to construe any movement as generating its own techniGues, its own formal codes and practices. This is $ust sim'ly una,oidable C even if these codes do need sharp +ic+s up the bac+side every few years and even if something else may come along very soon. /ew codes are prompted into being through creative experimentation and the process of learning. That0s why a healthy respect for tradition by no means precludes an ability to play with, or even apparently to scorn it C as, in the eyes of its most rigidly conservative adherents, did )oltrane0s music. &uch apparent scorn is actually a development of the original spirit in which it was first created. .t0s precisely this attitude which has +ept #frican6#merican forms of music so vital> as #rchie &hepp puts it, "/egro music and culture are inherently existential, improvisational. /othing is sacred.%
*omini+ &ash, :*erek ;ailey’s 'uitar Notes4 2 'limpse of the In+us 2r+hive’, available at http4//www in+usre+ords for+e0 +o uk/pdf/In+us5*;5guitar5notes pdf
'atson0s Guite right to slam down the notion of roc+ bands who play noise "because #vant is in vogue%, but his valorisation of aggression, of roc+ and roll energy and gesture, ignores the fact that the o''osite of such /oise6as61olume may be $ust as noisy as ?/oise0 Lvolume and harshness on their own aren0t inherently subversive( such a concept of noise is very much prone to the mar+etisation that 'atson so despisesA. To illustrate this, we need turn no further than to the anecdote which prefaces the essay under discussion> that of 8ugene )hadbourne playing country music to free improv audiences, who treated it as the +ind of noise others would perceive free improv to be. .0m not, of course, suggesting that everyone should start playing country music to sha+e up the staid ?weird modern music0 hierarchy, but what . am suggesting is that ?/oise0 might be, at times, the opposite of what is normally considered ?noisy0 C extremely Guiet and apparently ?un6energetic0 music may deny the visceral thrill of /oise Lthe thrill endorsed in 'atson0s emphasis on the physicalA, may deny that +ind of macho aggression.U attin, . thin+, realizes the dangers of a too6narrow definition of /oise, through his highly self6critical Guest to avoid falling into set patterns Lboth behavioural and musicalA> his ?reductionist0 wor+ with 9adu alfatti is, according to this argument, $ust as ?noisy0 as his more ?power6 electronics0 flavoured laptop wor+ or the ?Pin+ /oise0 collaboration with 5apanese singer2screamer 5un+o. . used the word ?macho0 $ust now, and .0m not intending that to be merely a throwaway remar+. .f /oise, and a particular +ind of ?visceral0, ?energetic0 form of sound6ma+ing does have a +ind of macho thrust behind it, we might consider an alternative via the essay preceding 'atson0s, wherein /ina Power thoughtfully considers the wor+ of female noise artist 5essica 9ylan. 7or Power, 9ylan0s wor+ challenges noise stereotypes, her performances engaging in a more elegant Lthough by no means tweeA consideration of the relation between voice and synthesizer, human and machine, audience and artist. .ndeed, gender is an issue which might profitably have been more discussed in this anthology as a whole> Power0s Lvery goodA essay feels li+e a to+en female inclusion, and is more an exploration of a particular artist0s wor+ than a wide6ranging survey of gendered noise C which is not in itself a problem, but which does mean that it can0t bear the weight that0s been forced on it, to fully fill the ?woman component0 of the boo+. LThat said, .0m sure attin would have been mindful of this and would have wanted to avoid the usual male6dominated circles in which so much of this music0s production and reception seems to be conductedA.
See also the +on+luding paragraph of 9oward Slater’s essay (=e +an fear silen+e as if it were the most ear5splitting noise ) (p 116)
&o> why are so many of the artists mentioned men, playing at gigs attended by menD .s there perhaps something C dare . use the wordD C 'hallocentric about noise, about the whole roc+ and roll myth of the singer with his phallic guitar or saxophoneD They don0t use the term ?coc+ roc+0 for nothing, and they might as well invent a similar term for less mainstream manifestations of ?aggression0 and ?energy0 in music. @f course, there are exceptions> the female performers in the heyday of /o 'ave Lone of the few avant6garde musical movements in which women played a role eGual to, and perhaps even more prominent than that of menA, someone li+e &uzi Yuatro, or 1irginia GentaP Lthe saxophonist in the 5oo+lo DuoA C but these are very much exceptions Lsee what a wide range of different musics .0ve had to traverse to compile even that miniscule listA, and hence do not trouble the general balance of things. Thus, for instance, it0s @3 for #lice )oltrane to play ?harp6li+e0 arpeggios on piano or even on an actual harp Lbecause a harp is a rather womanly instrument and #lice )oltrane0s music displays that ?feminine touch0A, but it probably wouldn0t be @3 if she was the one doing calisthentics and blasting on saxophone for an hour at the front of the stage, rather than fitting into the bac+ground behind her husband. 'e might well bear this gender imbalance in mind when we read Bruce 9ussell0s optimistic statement that, "Being outside of the so6called ?music industry0 which purveys alienated entertainment products that ?$oyously express their slave sentiments0, sound wor+ can create, for brief periods of time ?constructed situations0 where ?unitary ambiences0 of sound, mise en sc7ne, and selected audiences of initiated enfants 'erdus can briefly combine to ?foreshadow0 ?a few aspects of a provisional microsociety.0 % Lp.Q;A The practitioners of /oise and 7ree .mprov, for all their claims to be engaged in a field of activity which is inherently more self6critical than perhaps any other, seem to have a blind spot about still6ingrained gender imbalances and hierarchies, $ust as much Blac+ /ationalism of the :;B=s tarnished its emphasis on racial liberation with slurs on ?faggots0, ?5ews0 and women who did not fulfill the roles they were supposed to fulfil. 8ven without considering gender, atthew 4yland is able to ta+e a less optimistic view than 9ussell, Pr]vost or 'atson( in his words, "improvisation Las Dere+ Bailey intends itA resists comnodification almost successfully. ?#lmost0 remains an upper limit as long as capital goes on being strengthened by what hasn0t +illed it yet.% Lp.:J=A athieu &aladin expands on this, pointing out that the very virtues which ma+e free improvisation, to its more politically6motivated advocates li+e Pr]vost, a model form of interaction resistant to that of capitalist society, have been absorbed into the adapting forms of modern capitalism Lwhat one might
via citing a whole range of arxist scholars. to be a cog in the alienation machine. intuition. . as process.n terms of concrete examples Lor merely anecdotal ?verification0A. . Bruce 9ussell argues that. supposeA.0 continuously innovate. if not as a caveat. according to the management teachers and consultants. #nthony . which have cultivated a fierce opposition against the domination of the mar+et. be flexible. Guoted by &aladinA> "the irony is that the arts. "#s a developing practice. )onversely. to uphold the uniGue possibilities in free improvisation. then we need to loo+ more closely at those resistances and tensions this music carries within itself C where it provides potential tools for capitalism and where it supplies means for getting out of it.0 )ompanies are too bureaucratic. innovation.:U. when spinning out some paragraphs for a )1. discovered how easy it was to spin aspects of my experience of freely improvising and organising a free improvising collective into ?wor+6place s+ills0 that would enable me to slot nicely into a wholly capitalist $ob. 8ve )hiapello> "Planning and rationality are not any more. and because of its improvisational method. this sound wor+ is inherently self6critical. &aladin concludes by arguing that.0 % Lp. appear as forerunners in the experimentation with flexibility.:UPA. DDD 'hat the more idealistically6tinged essays in this collection tend to do is. Thus Lin the words of Pierre6 ichel enger. to which one could easily apply a chec+list derived from the description above> chaos. the only ways to ma+e a success.AA. one has to ta+e this as a caveat rather than as a stumbling bloc+ which invalidates the whole free improv pro$ect( or. continued exploration rather than arrival or conclusion.:<A L7or his part. this passage particularly struc+ me given that. emotion. @r.:UBA This sounds none too dissimilar to free improvisation. .call ?post6modern capitalism0. it must be ?run by chaos. 7or instance. have a strong ?emotional Guotient. free improvisation remains ?noisy0 by its focus on dissensus rather than consensus C it is "a creation which does not see+ reconciliation or the profit of any a priori success% Lp. flexibility.t is this which ensures its sharpness as a tool for exposing reification in other forms of . . they do not really delve into the specifics of sound practice C the production and consumption contexts of the free improv ?scene0. intuitive.% Lp. while asserting that it may not be a perfectly resistant alternative to capitalism.ntroduction> "&ince we cannot accept that noise or improvisation is by default anticapitalist music. Eet. they alienate the wor+force( they have to ?learn how to dance. in the end. too hierarchical. Perhaps. indeed hyper6flexibility% Lp.les puts it best in the final sentence of his . as the beginnings of an ongoing critical discussion and self6examination which will remain Las free improv itself remainsA process rather than product.
B=s C it0s generalisable enough to resist further scrutiny> "experimentation with alternative performance6experiences. too safe. younger. score6reading and conduction.% Lp. so that they do not simply harden into mar+etable. Dere+ Bailey would simply sit down. Eet the list of methods and possibilities which 9ussell comes up with hardly sounds very different to the sort of thing that might have been written when the music was in its infancy in the :. invisible guidelines which govern how you ?should do0 free improv. "experimentation with alternative performance6 experiences% tends to mean an ?underground0 networ+ of spaces which.% Lp. the roc+ arena. then the performers go up on stage and perform. because of their rarity( thus. when. a bit of a nuisance.Q<A Eet. as if these performers had somehow over6stepped invisible rules. )ecil Taylor0s pelvis6oriented movement on the piano stoolA. when they happen. and play. no6nonsense.culture. there are exceptions> Thomas !ehn0s very physical approach to his analogue synthesizer. while "alternative performance6experiences% might be a goal desirable but rarely strived for in actuality.0d agree that the methods which one has developed and which one might be expected to espouse C especially if one has become associated with them in the minds and words of critics and audiences C may need to be re$ected. 4an Bennin+. &achi+o and #xel Dorner adopt a certain bodily stillness in their performances Lthough. criticised. angry men gathering in dingy basement rooms suffused with the sound of feedbac+ and the sight of flaring light shows erupting out of the dar+nessA. 9ussell0s other criteria seem. By contrast. while they are certainly different to the concert hall. or the nightclub. in practice. Guestioned. The overtly theatrical and playful aspects brought into the music by &teve Beresford. a little old6hat> the usual sweeping dismissals of the entire . and the radical re$ection of the cult of the composer. #nd. too comfortable> middle6aged men with beards gathering in the bac+6rooms of pubs suffused with the smell of real ale and the sound of free improvisation Lor. of course.<<A . Tristan 4ontsinger and isha engelberg have always been rather disapproved of by a number of free improv aficionados. $ust as erzbow. attin0s in6concert behaviour has gained him the reputation of an enfant terrible and. if we are to believe 9ussell. reified activities. the ?rules0 of music and the hierarchical models of composition. )onventional rules are very easy to fall into C people mill around. have perhaps become environments which are too settled. fran+ly. separable from the very human process of their ma+ing Lthough of course the ris+ of that happening is always far less great than in other forms of ma+ing music2soundA. long6haired. such behaviour should be the norm in free improvisation. fran+ly. then everyone claps and has a drin+ and mills around again C and challenges to this are particular notable.
This is a more nuanced addition to Ben 'atson0s championing of the amateur C the professionalisation and individualisation and specialisation resulting from the pragmatics of ?ma+ing a living0 may be inherently un6noisy. the proportion of actual free improvisers among the listening cachet for free improv records must be fairly highA. free improvisers nonetheless continually reinforce certain notions of authorship. as reproducible and repeatable artefacts. or as ?not posing a challenge to reified practice0. one6off performances. in which certain people create and certain people consume Lthough. . there are few who would ta+e the option of starvation. . agree with Dominic !ash0s assertion that "free improvisation and the writing down of notes on paper are not mutually exclusive activities. 8manem. we might consider the concluding point of atthew 4yland0s essay> that the dedicated part6timer may have more time and commitment to spend on thin+ing deeply about their music than the professional in the pay of record companies or reliant on state funding. and atchless all being established record labels devoted to selling recordings of in6the6 moment. .mprovisation0.system of composition and the score is a hoary old chestnut if ever there was one. to be fair. attin delves into the way in which such ideological statements so freGuently contradict the way in which free improvisation is actually distributed> .n addition. suppose 9ussell would dismiss as ?not free enough0. it often arises out of a material necessity> the struggle to actually earn enough money to ma+e even a rather poorly6paid living from being a free6improvising musician. most of the music of #nthony Braxton and )ecil Taylor Lwhose music is. 7or all the claims to abandonment of ?go6getter0 individualism and the cult of the ?inspired0 genius. ibid . attin0s piece on the way that /oise and . @n these grounds.ncus. @f course.n any case. and as is obvious if you0ve listened to enough recordings. won0t go into the issue in detail here( suffice to say that .n relation to this. Developing )ardew0s famous assertion of the inadeGuacy of recordings in ?Towards an 8thics of 7ree .mprovisation could2 should resist the notion of .%B 9ussell might usefully have paid more attention to the final essay in the collection.ntellectual Property. this is by no means conscious> hence 8ddie Pr]vost0s astonishment that anyone could want to ma+e a ?career0 out of free improv Lp. based very much around compositional materialA. . 'hen it comes to the choice between actively resisting existing notions of authorship and putting bread on the table. however much the ensuing product is ?difficult0 art which pushes up the decibels. . of a hierarchy of performer and audience. 1 &ash. as many of his collaborators have stressed.:UBA.
.0m not C necessarily C arguing that all free improvisers and noise6 ma+ers should be amateurs. if pursued to a sufficiently rigorous and self6critical extent. and attin is right to point out the way in which it could. whi+h +onstantly makes people +hange roles. D.). especially.E ethos0 characterising free improv and noise scenes has become an easy accolade.n itself that relegates improvisation to a subordinate role. 9oland Barthes. and their nights creating sound.AQ That0s not to say that musicians are not res'onsible for what they play. create my music as an individual. part of one0s ?leisure6time0. a ?hobby0 rather than a main activity. the way it reveals how the actual production and distribution of ideas is always a social phenomenon. "@nce written. p 11-) . a bac+6slapping means of ignoring the way in which performing practices can slip into established patterns. (New 7ork. or even into cliGues and hierarchies. in Notes to &iterature. . Bonsider alongside this4 (=hat unfolds and be+omes visible in the works. is none other than the truth manifested ob8e+tively in them. and for ?putting it out0 Lwhether in the form of public performances or recordsA.:<. it is my intellectual property. ? (@eople have been self5organising themselves by organising +on+erts wherever possible and more !his self5organisation. a secret and illicit activity which one does ?after6hours0. :@arataCis4 on 9olderlin’s late @oetry’. and . The text has its own discourse and power and we should not limit it to an authoritarian voice. challenge notions of authorship and intellectual property2control.t also runs the ris+ of valorising poverty. &onny &immons and )harles Gayle living on the streetsA. you can view yourself and be viewed as a hero. to distributor. tends to be applied more to literature than to music. the author stops having control over the text. helps people understand ea+h others rolesA . from player to organiser. #ccording to that viewpoint. you are a martyr at the hands of an un$ust system.oth in the improvised and noise s+ene the $uestion of authorship is +ompletely interrelated to that of the produ+er ) (p 1?6) .E does still remain important. the more crummy the $ob. These are dangers. Dol . spending their days washing dishes or driving taxis Las )ecil Taylor and c)oy Tyner didA. 1an Gogh crazed and earless. Despite this. the better C you are suffering for what you believe in. Bolumbia Eniv @ress. have a right to this ownership0A. from +riti+. misunderstood artist L)hatterton dead in his garret. the truth that +onsumes the sub8e+tive intention and leaves it behind as irrelevant ) (!heodor 2dorno (trans Shierry =eber Ni+holsen). but is to say that the freedom involved in creating the music could and should extended to the way that music is received. But that does not mean we should ignore the way in which the much6cited ?D. the sour+e of their authority. 100. thus neatly dovetailing with the notion of the starving.% Lp. .< This is part of a wider discourse C the wor+ of ichel 7oucault. and. !anguage itself has is own potential and to ma+e it solely the property of the author might dilute its power. but is particularly illuminating in this context due to the way it challenges what can easily seem the accepted and ?natural0 way of things L?.
.% attin ta+es things further> "the radical and exploratory character of improvisation should be directed not only to the ma+ing of music but in changing the conditions in which the music is produced.% Lp. #D$& . Thus..B=s. basic contexts of what they do.:A #nd perhaps C dare we hopeD C changing conditions on this ?micro0 level might provide the conditions of possibility for change on a wider scale. rather than simply re6iterating the statements of the . if 8ddie Pr]vost argues that "certain material conditions have to be met before any music can be made.t0s not enough simply to state that free improv and /oise are resistant to capitalism. without Guestioning this relation. and then to treat this as a given. without using one0s assertions as a basis to develop and change one0s own practices. but at least attin can succeed in getting people to thin+ about the fundamental.:.dealismD Perhaps there is a touch.
S $olly .%(% "EF(E+S %ANNETS V PE(0 +ASCE&ANNI CE"(S ST/..<<7 .7th Septem#er .ridge (nn2 O=ford2 Tuesday .
also with electronicsA too+ a while to hit its stride Lthough stride isn0t really the appropriate metaphor. and didn0t stop> the sheer force of their entry too+ me by surprise. given the particular logic of incident which was in playA. .t came. especially by 'achsmann. what the set revealed as it went on was that flow was often not the order of the game( incidents followed one another in bloc+s rather than lines. and 'achsmann. 'achsmann bowed violin lines in ?modern classical0 vein. Things were settling in by the time the first piece reached its latter stages. and thence to texturally sparser but more actively eventful extrapolations. Gannets played !@-D from the off. That said. the overwhelming power and loudness . soa+ing it all up and waiting for the right moment to enter. 'aschmann too+ a closing violin solo Lsomething that he had been building towards for a while. to his surprise as much as anyone else0s C it $ust felt right. 4is playing was busy. with electronicsA and )hris &tubbs Lpercussion. eyes closed as ever. attractive melodies. though single areas would freGuently be examined at length. thic+ and crumbly but with a tautness to it that seemed as though it could brea+ at any point. without this sounding gimmic+y C in fact. concentrated hard. it seemedA. though the amplified metal elicited more drawn6out variations. bowing up and down the string. guess must have lasted around forty minutesA step by step> though there were definite narrative segments. often repeating one note with bowing variations. it was texturally Guite delightful. household implements. and a sheet of metal with stones and coils attached. he was creating the effect of an entire string section. as &teve /oble0s drums and 7yfe Dangerfield0s massively amped6up and distorted +eyboard vibrated the floor. 9ather than a ?+it0. and soon. with the aid of pedals and resultant effects.The duo of Phil 'achsmann Lviolin. as yet. in a section lasting minutes which was really Guite pretty. playing rather piGuant. arising no doubt from a delight in the sonorities which were being lovingly drawn from the scrape of a +nife or the rattle of a stone. clattery> a delectable +itchen6pan style approach sure to brea+ things up and +eep them moving. almost pastoral. clanging. then scraping the bow below the bridge or dissonantly pluc+ing> a succession of sound techniGues in which flo$ wasn0t Guite ad$usted. . connected to a small amp and an electronic device which was hidden away behind the upside6down box on which the metal had been placed. until &tubbs0 stormclouds of foghorn electronics pushed him into engine effects. he utilised a ?$un+0 set6up> tubs. it was &tubbs who went solo. and after brief applause. 4e even got into some 4enry 7lynt2 Tony )onrad6style fol+6tinged melodic drone. and &tubbs0 percussion in particular was really coming into its own.t0s impossible really to describe the whole performance Lwhich .
mellifluous flow. were endlessly fascinating in their absurdly Guic+6 thin+ing. even with one bro+en string. Dominic !ash0s amplified bass. #lex 'ard0s shards of altissimo wail on saxophone and clarinet were arshall #llen6li+e in their scrawly magnificence. that well6travelled metaphor seems inappropriate given the relentless 'ro'ulsion of the thing. say ?wall of sound0. The utter loudness of his set6up could be seen to . even if /oble did often +eep up a fairly pronounced beat. #t times one wished not so much for ?subtlety0 Lwhat0s the point in imposing criteria on the music which it was manifestly not attempting to. s+imps on detail. . . but that what and when they chose to play Lmostly. alternating low hon+s. on reflection. don0t mean that they weren0t in control of what they were playing. as ever. one player would be sure to sGuall or bang or pluc+ away and up the ante once more. being made to thin+ and to act simultaneously.ndeed. compensating for any drop in volume and tempo. a slamming riff section or a burst of ?fa+e $azz0 from Dangerfield0s suddenly tinny +eyboard would soon be dropped for more collective lung6busting. to play something before they0d caught up with what was involved. 'hen things threatened to Guieten or turn more melodic. abrasive energy. as well as ma+ing his customary $ourneys round his +it with stic+s and with various percussive accessories.made it hard to remember what had gone before. and his melodic leaps. and not going to fulfillDA as for a slight reduction of volume in Dangerfield0s corner. Paying attention to particular lines or areas or segments would be li+e concentrating on the individual bric+s which made up this monstrous wall of sound. sounds full of timbral harshness and buoyant. . of necessity. it was almost as if the music had moved beyond the conscious control of the players. Thus.t0s an approach which. . all the timeA were decisions into which they were pushed by force of circumstance. but. or seems to do so. and leaping up the registers even more with piercing soprano sax C though his playing on that instrument was often more melodic. Despite the emphasis played on the band as a band rather than as a grouping of showy individuals. each musician0s approach had something distinctively out6standing about it. #nd )hris )undy played a mean free $azz bass clarinet. if you were able to pic+ it out of the collective ferment. growls and parps with high yawps and cries. gave a real deep end to the band0s sound. This was not a solid construction that sat still on solid foundations( rather something had somehow been set in motion that $ust would not stop. though the ma+e6up of this sound mass is clearly very complex Lanyone attempting to analyse the minutiae of what was going on would find enough material to +eep them occupied in a research hole for monthsA.
before eventually overpowering them. unprompted. more of an emphasis on extreme high pitches. as it were.have hindered a more dialogic approach between the other musicians which would have produced some textural variety> but then again. with something of a low end Lthere were certainly vibrations through the floorA but. @0 alley and #nderson concentrated mainly on two chords. so to stic+ the laptop guy in the shade. 8choes of 7N C thunder gunshot voice elements( field recordings rendered as noise. stumble around. but. in context. then. but with everyone crowded up to the front of the stage. in preparation for the tongue6in6chee+2deadly serious metal theatrics to followA. the hea. occasional puffs from a smo+e machine reinforcing the impression of machines somehow ma+ing their own sounds. though that seemed to generate itself much of the time. anyone could shape the music0s direction. the group displayed a nicely collective and layered approach to noise6ma+ing> with no ?leader0 and no ?solos0. Gannets transformed the function room of the 7olly Bridge . and then potter bac+ off stage. it seemed instead li+e an extra6long ?opening theme0 for the band to come out to C particularly as various hooded figures would occasionally wander out armed with a torch and a bottle of wine. illuminated with colour lights but unmanned. fol+ stomps. +eyboards and guitars an eerie presence. Things were a little sluggish to start off with C as. # nice way to play with the usual conventions of support2main act relations C everyone was here for &unn. in riffs rendered almost static by their slowness Lbut. unaided. #s a whole. the total immersion in inexorable alternations of sound6masses LchordsA. Turns out that all this sound was coming from the laptop of support artist B5 /ilsen. craning their nec+s to see the main draw appear. not clear . felt as relatively fast6paced dances. as an unstoppable current against which the musicians had to swim with ever more frantically powerful stro+es. their down6tuned guitar feedbac+ drone meshed with /ilsen0s electronics for a few minutes. 7or a good forty minutes. forming a comment on stage craft and performance aesthetics as well La sort of satirical minimalism. of course. though the volume certainly was there.iness hadn0t Guite set in.<<7 UP minutes of crunching electronics with no one on stage( stac+s of amps. stretched the usual notions of anticipation2 tension2 expectation to brea+ing point. lumbering peasant celebrationsA. is the way with such music. compared to the show which followed.J N(0SEN Trinity2 . #D$& S/NN O))) V .ristol2 +ednesday 7th Decem#er . 'hen the mad mon+s finally did emerge. at the bac+ of the room.nn into a profane temple of unholy textured noise. the turbo boost of his floor6sha+ing rumbles and police siren whooshes isn0t something you come across in every improv band.
repetition and alternation builds ritual power( the guitars come bac+ in and it gets heavy. &unn0s stage6craft always flirts with the ridiculous.t0s a while before he comes bac+ on stage. #ttila too+ centre6stage. #ttila cradles the microphone. from where things could now build in a more purposeful fashion. however( but. bell6li+e 7ender 9hodes. as the guitars dropped out. Things built in this manner to an almighty climax. . but made easier by a guitar slugging into a riff. but soon turned out to be a see6through plastic head. shadows his face. the guitarist lumbering from side to side in a bizarre shuffle that. . which he proffered to each of the other band members in turn before launching into a whispered2spo+en vocal which was.0 before putting it on his own head and flashing laser6beams. #ttila0s vocals were now an indistinguishable mixture of &atanic reverses.n perhaps one of the only genuine headbanging moments of the night Lalbeit in slo6moA. though maybe too slow to be called a dance. a tale of dar+ deeds and pagan ritual Lthe words were pretty much inaudible in the thic+et of sound( #ttila0s voice was clear enough. but more as instrumental colour than anything elseA. through the smo+e and the coloured lights. &pace builds tension. #nd then everyone went off into the night with their ears ringing * a headache. li+e melted white glueA. . . having done a costume change( his robes are now covered in what loo+ li+e a +id0s attempt to ma+e a suite of armour.enough to be called riffs. which occasionally dipped as the vocal fol+song too+ a sinister turn over oore0s distorted. at the audience. some much6needed space crept into the music. &omething was still missing. #ttila obsessively shining his lasers into the crowd before eventually giving up and slowly collapsing onto the floor as @0 alley and )sihar waved their guitars li+e giant axes in front of the amp6stac+s.n any case. #D$& . which he first places on the ?idol. 4e0s still carrying the plastic head. an effect mirrored by the held drone tones and sGuaw+ing flurries of oore0s trombone Lthe only time he used the instrument through the whole setA. and 8astern68uropean fol+song( hard to get a handle on. carrying what initially appeared to be a shadowed idol. his face draped in a horror6movie mas+ Lwhat loo+s. This went for fifteen minutes or so before #ttila )sihar emerged. The end. no doubt. rendered muddy and thic+ by the addition of &teve oore0s heavily processed 3org +eyboards. he disappears. @0 alley and #nderson slugging it out regardless. Gregorian chant. which emerge from a pair of gloves. #fter some time. although he does insist on playing around with the laser beams for the rest of the set. but now has an additional accessoryC a statue of liberty style crown. the riff came in and out of a feedbac+ wall. but at this point it seemed that all caution had been abandoned and a full6blown relationship was being initiated. certainly approached something of the sort. alternating the swirling phaser6effects of his throat singing with death metal screams. suppose that0s all by the by. )assoc+ed. so that the sounds seem to emerge from the depths of his hood rather than from any human mouth.
and ?Blade Pitch )ontrol -nit. Seth =atter has written on music and film for Dusted. a )ambridge -niversity Graduate. 4e is involved in free improvisation in Bristol.mprovising Group. a +een football fan.com Da. and performer since the late :. Ale=ander Kindness is a member of . (an Thum-ood. '7 -. co6runs the press Et )ommunication with 7rances 3ru+. is a recent graduate of )ambridge -niversity. the editor of this magazine.mprovising )larinet 8nsembleA and the trio 3indness2 ay2 !ash Lwith percussionist Paul ay and bassist Dominic !ashA. 3eith Tippett0s )entipede. with pianist . . ?Baudelaire in 8nglish0.onney2 a poet.blogspot. dancer.rene &chweizer and bassist 5oclle !]andre.0ist of Contri#utors Sean . the 7eminist . birdwatcher and amateur pianist. is a member of The )ambridge 7ree .id %rundy.mprovisation &ociety.6)68 Lthe . @xford and )ambridge. and Paracinema.0 ore writing can be found at his blog> http>22abandonedbuildings.B=s. )heltenham. &aggie Nicols has been an active free6improvising vocalist. 4is published wor+ includes ?/otes on 4eresey0. has an extensive +nowledge of the history and practice of $azz. Daniel 0ar-ood. and the trio !es DiaboliGues. 4er numerous groups and collaborations include the &pontaneous usic 8nsemble.
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