CONTENTS
Editorial: On 'Free Time'
“Why all this? What need for all this? What 'job' does this all do?” And other questions. By David Grundy.

Feature: Improv Collectives
A (partial subje!tive" snapshot of so#e British i#provisin$ !olle!tives past and present. %he feature's !ontents& an in!o#plete history of the Bristol 'usi!ians' (o)*perative and the Bristol +#provisers' (olle!tive presented as intervie, and hand,ritten re#inis!en!e- and a poeti! presentation of personalties fro# *.ford +#provisers in the style of /ohn 'ilton.

“A Man Walkin Into t!e Future "ack#ards$: Marion "ro#n% t!e American Sout!% and 'A&ternoon o& a 'eor ia Faun'
0ollo,in$ the passin$ of sa.ophonist 'arion Bro,n this essay e.a#ines the inspirations for and pra!ti!es ,ithin his so)!alled 'Geor$ia %rilo$y' of re!ordin$s in parti!ular 'Afternoon of a Geor$ia 0aun'. By David Grundy.

(eter "r)t*mann and +eit! ,o#e: T!e Art o& t!e Improviser -As Witnessed in t!e Artist.Curated E/!i0ition T!at Is t!e 'aller1 o& T!eir ,ecord Covers2
While 1o,e hi#self #a2es frequent referen!e to the history of paintin$ in relation to his #usi!al ,or2 and bio$raphies of Br3t4#ann often #ention his early !areer as a visual artist little !riti!al attention has been paid to the a!tual art ,or2s produ!ed by both #en. 5i$h ti#e for a !riti!al (re"appraisal then...,hi!h has been duly provided for us by 6ut4 7itel.

3ou Tu0e Watc!: 4on C!err1 Special
0ollo,in$ the #ultiple phases of (herry's !areer fro# the '89s to the ':9s. By David Grundy.

C4 ,evie#s
0eaturin$ a bat!h of releases fro# Another %i#bre- a re!ent !ollaboration bet,een 'i!hael ;isaro and %a2u <u$i#oto- and albu#s fro# Aute!hre Diatribes Giuseppi 6o$an and 6ee =onit4. ;lus re)issues by ;atty Waters 'i!hael Gre$ory /a!2son and <onny <i##ons. 1evie,ed by David Grundy %ed 5ar#s and <andy =indness.

'i ,evie#s
A free)i#provisin$ strin$ quintet- the 0reedo# of the (ity festival- #usi! by the Wandel,eiser Group- /ohn %!hi!ai in the >=. 1evie,ed by David Grundy.

E4ITO,IA5: On 6Free Time7
"1 4avid 'rund1 As ?eartrip@ lu#bers into another issue as ,ords translate into pi.els into pdfs A #ore data in the internet@s all)out assault on our !riti!al !apa!ities A the question + 2eep !o#in$ ba!2 to is ?,hy all this? ,hat need for all this? ,hat is this ?!riti!is#@ ($ood" for?@ <tit!hin$ to$ether an intervie, an ?arti!le@ a ?features@ se!tion A and above all fillin$ up spa!e ,ith the !he!2list evaluation of re!ords sent in hope and $ood faith by artists fro# different ba!2$rounds lo!ations #usi!al pla!e#ents- de!idin$ to allo!ate B99 ,ords or C99 or a fe, thousand#a2in$ jud$e#ents in one sittin$ or t,o or three typin$ ,hile the #usi! plays eatin$ and di$estin$ si#ultaneously. %hat@s ?,hat@ A but ,hy? and ,hat for? +n ,hat !riti!al e!ono#y ,hat arena of re!eption does this ta2e pla!e? Why the haste (or la!2 of"? What ?job@ does this all do? %he ,ritin$ ta2es pla!e in the !ontributors@ ?free ti#e@ A and yet even here there is never enou$h ti#e. Why sure there@s ti#e to !he!2 the ,at!h to ans,er e#ails or the phone to tap and type and sort A the or$aniser the virtual filo)fa. the ti!2in$ !lo!2 that $overns that apportions that par!els out ,hat ti#e ,e@re allo,ed. Dou are ?free@ to do this but ,hat toll does the stri!t se#blan!e of routine A or even the franti! ?$ot no ti#e @ #ulti)tas2in$ rush that #i$ht see# its opposite A ta2e? What is this ?free ti#e@? %i#e for free i#provisation ti#e for one #ore tune- or as at the C9E9 0reedo# of the (ity festival no time for another Wadada 6eo <#ith pie!e Ahealth and safety re$ulations lead to or$anisational t,it!hiness no #atter that Wadada #i$ht have #ore to say (and no #atter that he@s sho,n us just ho, #u!h he has to say in previous perfor#an!es durin$ the festival" A no the only ti#e ,e have is that ti#e Wadada F (o. a!2no,led$e by turnin$ the !onstraint into a 2ind of #usi!alGtheatri!al jo2e a full)ense#ble ?half)se!ond@ blast of sound (perhaps shorter than Hapal# Death@s ?Dou <uffer@" an ?en!ore@ that@s over al#ost before it@s be$un- the stutter the sta##er the little un!ontrolled shrie2 before one bites one ton$ue and stiffens one@s upper lip returns to s#ooth and !ontrolled spee!h par!elled ,ithin the li#its assi$ned by so#eone (or so#ethin$" outside one outside one@s !ontrol. *utside even su!h e.tre#e instan!es a virtue #ust be #ade of the !onstraints in ,hi!h #usi!ians find the#selves. %hus the ?free ti#e@ of #usi! #i$ht variously be or in!lude& #usi! that ?#a2es ti#e stands still@IEJ that atte#pts to quieten the ever)present #etrono#e ti!2in$ a,ay in the ba!2$round (the ni$ht#are e.ploited perhaps even trans!ended in 6i$eti@s ?;oe#e <y#phonique@ for E99 #etrono#es"- #usi! that #esses ,ith one@s per!eption of ti#e in a #ad pa!2ed rush of #ultiple and si#ultaneous events- #usi! that@s ?$one in the air@ that leaves only ru#ours ,hispers e!hoes of its presen!e on!e it@s been played.ICJ 5ere one #ust !ontrast the notion of ?free@ or leisure ti#e ,hi!h sprun$ up sin!e the nineteenth !entury as so#ethin$ available to all rather than si#ply to the ?leisured !lasses@ A a ti#e ,hi!h as Adorno notes is not really free at all A ,ith a ti#e that #i$ht $enuinely be free- ,here free ti#e #eans fo!us !o##it#ent desire& in fa!t the #o#ent of be!o#in$ fully hu#an. <o often e!ono#i! i#peratives (the need to ?earn a livin$@ as if one@s ri$ht to live ,ere so#ethin$ that one had to pay ones ,ay to,ards" #ean that the pra!ti!e of e.peri#ental #usi! is redu!ed to a ?#ere leisure ti#e a!tivity- it is jud$ed that

(e!il %aylor #a2es better use of his ti#e by . *ne is allo. What is needed then A and .pe!ted to fill one@s ?free ti#e@ .I8J *ne thin2s ba!2 to 'ar.hi!h is for!ed upon hi# and fro# .y !ontinuation of labour.ishes so!iety re$ulates the $eneral produ!tion and thus #a2es it possible for #e to do one thin$ today and another to#orro.ritin$ or #a2in$ #usi!".ays #indful that ?so!iety@ !onsiders su!h a!tivities #ere frivolities any. and any atte#pt to put it into pra!ti!e strai$ht)a. The German Ideology" *f !ourse this is not a!hievable in so!iety as it is or$anised no.ards labour.orld. %he si#ultaneous denial of the ri$ht A for e.ant to lose his #eans of livelihood.ards .e.!lusive sphere of a!tivity but ea!h !an be!o#e a!!o#plished in any bran!h he . +n a syste# .hi!h do not e.ashin$ dishesIKJ than by strivin$ and see2in$ to !reate so#ethin$ of true .hile in !o##unist so!iety .hi!h require and test that self . *ne #ay be deta!hed fro# one@s job in that one #ust subordinate one@s true desires needs .a#ple the tas2 of .”IBJ *ne is e. Det this so#eti#es see#s al#ost as i#possible to i#ple#ent as 'ar.ith shallo.here full e#ploy#ent itself has be!o#e the ideal free ti#e is nothin$ #ore than a shado.ay.or2@ ?leisure@ ?hobby@ ?!areer@.thus .ritin$ verse or of . <u!h or$anisational proble#s are not #ere te!hni!alities but lie at the very root of !reation.ILJ %hus in Adorno@s . thin$s are@.ith a ri$orous and drainin$ e.ithout ever be!o#in$ hunter fisher#an herds#an or !riti!.hi!h he !annot es!ape.hen it can be i#ple#ented too often it #eans a ?retreat@ into the a!ade#y and a 2ind of se!lusion fro# a!tively #a2in$ #usi! in the so!ial .hat is so very hard to a!hieve A is a situation . to hunt in the #ornin$ fish in the afternoon rear !attle in the evenin$ !riti!ise after dinner just as + have a #ind .hole self into a!tivities .here #usi! and life #eld #esh fuse to$ether A are not par!elled off into bo. 5e is a hunter a fisher#an a herds#an or a !riti!al !riti! and #ust re#ain so if he does not .@s proposed poly#athi! non)spe!iali4ation A and . a!tivities A the passive !onsu#ption of $oin$ shoppin$ or .ay .ist outside the re#its of one@s ?job@ or ?!areer@ ensures that the arran$e#ent of so!iety .here one is bo#barded .or2 to. not #easurable by the standards of !apital".a#ple A to #a2e art as a full)ti#e o!!upation (rather than sittin$ in an offi!e and !hattin$ about the latest episode of %he N 0a!tor" A and belittle#ent as ?#ere leisure ti#e diversions@ of any a!tivities .ed to A indeed en!oura$ed to A thin2 of one@s .” ('ar.@s ar$u#ent a$ainst the division of labour& “0or as soon as the distribution of labour !o#es into bein$ ea!h #an has a parti!ular e.ords “0ree ti#e does not #erely stand in opposition to labour.ould be doo#ed to failure.ants F!.at!hin$ %M .es #ar2ed ?.!lusive sphere of a!tivity .orth (i.ith advertise#ents A and even if one does so#ethin$ other than this the i#pli!ation is that one is si#ply pra!ti!in$ a ?hobby@ ?#essin$ around@.e #ust !onsider ho.a!titude and al. the ?freedo#@ of free ti#e #i$ht . to the de#ands of nine)to)five A #ust effe!tively stop livin$ as a !o#plete person for ei$ht hours a day A but one is also deta!hed fro# one@s ?free ti#e@ too e.here nobody has one e.hausted to put one@s ..hi!h requires and trains people to sell their labour in order to live re#ains a!!epted as ?!o##on sense@ as ?ho. +nstead (as Adorno su$$estsIOJ" one #ay have to substitute it for its opposite& total dedi!ation to a parti!ular sphere of a!tivity to a parti!ular set of for#al !on!erns (for e.hole life as $eared to.

hat is the reality no.!han$es disa$ree#ents !o#in$s) to$ether fa!tions strate$ies for ?stayin$ to$ether@ the diffi!ulties of or$anisin$ !on!erts and se!urin$ fundin$.IPJ +n addition this #usi! A one should really say these musics for they !annot be $eneralised shiverin$ under one u#brella A is often praised for its ?free@ !olle!tive perhaps utopian potentials.hi!h it e#er$es and upon .hy? What proble#s #i$ht arise and need to be addressed here? *ne !ould !onsider for e.ever ?#inor@ this #i$ht see# ?in the lar$er s!he#e of thin$s@.s .hi!h perhaps it !ould also have so#e i#pa!t.hole A intera!tions e.is@ superb boo2)len$th study of the AA(' and Benja#in 6oo2er@s $uide to the BAG are full of points of !ontention and inspiration .ithin the !onte.t of so#ethin$ else (so#ethin$ bio$raphi!al redu!in$ thin$s on!e #ore to the individual or a lar$er ?s!ene@ A ?the 6ondon s!ene@ ?the north@ ?the south@ ?7uropean 0ree +#provisation@ ?eai@ A . But this tends to re#ain at a #etaphori!al level& .here everybody is in!redibly diverse yet $ets alon$ just the sa#e A but as a pro!ess of as2in$ . %here are dan$ers here A for one the ter# ?free ja44@ i#plies that ?ja44@ on its o. Anyho.e need to as2 on!e #ore& ." %here have been histori!al studies of ho.a#ple balan!es and i#balan!es of $ender balan!e ra!e se.ay ?bends@ ti#e as in the follo. it's a ti#e of slo.e do so#ethin$ . Given su!h !on!erns this latest issue of ?eartrip@ !ontains a feature on freely i#provisin$ !olle!tives in the >=.orld behind for vast s.I:J %his #eans loo2in$ at the a!tual or$anisation of this #usi! in ter#s not only of #usi!al intera!tion but of the $roup as a .ever arduous it #ay be it doesn@t really see# that the ti#e !ould have been a . <o then .n is inherently ?un)free@.e 2no.hat is lost is a !lose !onsideration of the pra!ti!al !ir!u#stan!es in .t ti#e .hy !ertain paradi$#s are or are not in pla!e. Det . this A and #i$ht even be able to ta2e an a!tive role ho.orld of festivals international tours $overn#ent $rants perfor#an!e publi! and private? %o provide so#e insi$ht into these questions there follo.IE9J %o reiterate& #usi! !annot be isolated fro# its so!io)politi!al !onte.hi!h the #usi! is !reated out of . (. As the late Bill Di. and .t of this #usi!? Who re!eives it ho. and i li2e that.ere in the for#ation of free i#provisation A for instan!e Dere2 Bailey@s (o#pany Wee2s or the ran$e of a!tivities !entred around the 6ittle %heatre (lub A thou$h usually .hole hour for #e.ith re$ards to this and hopefully #ar2 a $ro.on noted in an intervie. !entral su!h asso!iations .ualityA not ne!essarily be!ause of a desire to i#pose an artifi!ial #odel .ay fro# so #u!h .hat #i$ht best be des!ribed as a series of snapshots personal and partial portraits of freely i#provisin$ !olle!tives in *.hi!h ?the story of ja44@ is told.in$ do.in$ rise in s!holarship that $oes beyond the usual ane!dotalis# throu$h .ay to the notion of ?free ti#e@& a li#itin$ fa!tor dis$uised as a spa!e for potential and freedo#.n and a.ford F Bristol.hi!h it is easier to tal2 about in the abstra!t".hi!h is bendin$ ti#e be!ause so often so #u!h ti#e $oes past and ho.or2 !an be done on !olle!tives in the rest of 7urope in A#eri!a and in Asia A if anyone is interested in !ontributin$ so#ethin$ alon$ those lines please do $et in tou!h.t A .in$& “and very often i leave the other .athes of ti#e Qand of !ourse . for BB( 1adio K one #ust re$ard the ter# as a non) sequitur a journalist@s tri!2 an inadequa!y A and one that #i$ht operate in a si#ilar .erhaps in future editions so#e . Geor$e 6e.& until ne.relate to the ?freedo#@ of free ja44.hat is the so!ial !onte. in the .henever that #ay beQ Notes IEJ *r in so#e .

%his is . p.or2 at it lon$ enou$h and su!!essfully enou$h (.ashin$ dishes in a restaurant at the sa#e ti#e + .eople ." ?(an *ne 6ive after Aus!h.ress C99:" (7.e !all this Tburro.hether see2in$ to predi!ate verse or ja44 suffi!es to indi!ate not so #u!h . 8 (/une E::9"& E8)EP ILJ <ee Hina .ress C99K" p.ritten about in pla!es li2e Down Beat.ith one another. Wilson Dra#a <tudio (a#brid$e >niversity EPth /une C9E9"".ho do this".@ Down Beat BO no. Bernstein"..” ICJ 'ost obviously one #i$ht thin2 of the transition fro# Beat) to .!o#GC9E9G9:Gbrot4#ann)tentet) revisited.!o#GC9E9G98Gpeter)brot4#ann)!hi!a$o)tentet) live)in.indon Wiltshire <HE LBS Contact -Email2: dm rund18!otmail9co9uk .ress C99L".CK)C8.o. +n a si#ilar vein see =.ress C99B" Contact -Snail Mail2: EO Avenue 1oad *ld %o.KKC.” Gene <antoro ?(e!il %aylor& An A#eri!an 1o#anti!.hy poets $enerally aren@t or$ani4ers.blo$spot.or2 $et published et!. fro# %he 7ast& Bla!2 (ultural Hationalis# and 7du!ation in He. T” (/oseph 5arrin$ton ?1ethin2in$ (1eality)(he!2in$" .ress C999P" Benja#in 7.o.blo$spot.hilosophi!al 1eader@ (<tanford >niversity .hi!h requires you to .oeti!s@ (blo$post at http&GGjosephharrin$ton. 6e.happenin$ at on!e.E:L (1outled$e C99K (C99E"" I8J %he situation is si#ilar .panded <e!ond 7dition of ?%ruth !rushed to the earth . IKJ “+ .as bein$ .or2 (and there a!tually are people .ht#l.ress .asi =onadu ?A Mie. IBJ %heodor Adorno ?0ree %i#e@ in ?%he (ulture +ndustry& <ele!ted 7ssays on 'ass (ulture@ (ed.n !riti!al !orrelation bet. /.ith 'oney they don@t pay you for it (.ulse)playin$ (R la <unny 'urray" that #ar2ed the advent of ?free ja44@ A the freein$ up of rhyth# to #at!h the har#oni! innovations of be)bop et al.ith re$ards to poetry& “+f one is leadin$ a #ove#ent a$ainst .a#phlet distributed at a 1eadin$ by <ean Bonney and <i#on /arvis as part of the (a#brid$e 1eadin$ <eries (/udith 7.Go #oney" to have so#ethin$ to sell.here !riti!al attention thro.'.haustin$ and then “after hours ” do your or$ani4in$ .as .in$ fro# .ht#l" IOJ <ee <i#on /arvis ?Adorno& A (riti!al +ntrodu!tion@ (1outled$e E::P" pp..ritin$ poe#s and ar$uin$ .hi!h in the era of neoliberalis# #eans you don@t $et paid" A until you $et !oopted or sell out .!o#G C9E9G98Grethin2in$)reality)!he!2in$)poeti!s.oint fro# ..peri#ental 'usi!@ (>niversity of (hi!a$o . IE9J Geor$e 7.” ('i2e Walla!e) 5adrill Some Thoughts in the Vicinity of the Poetry of Sean Bonney (.ECB)8 and Adorno ?Art 'e#ory of <ufferin$ in 1olf %iede#ann (ed.blo$spot. Dor2 (ity@ (<yra!use >niversity .it4? A . IPJ “%he !o##onpla!e $enre)ta$ Tfree)T equally de!eptive .er ?*ne Di#ensional Wo#an@ (Sero Boo2s C9E9" espe!ially pp. %hey spend “after hours” .ht#l and http&GGsprin$)any)day)no. A!ade#i!s have to $rade papers prep !lass do !o##ittee . 6oo2er ? “.ill rise a$ainU& %he 7ast *r$ani4ation and the prin!iples and pra!ti!e of Bla!2 nationalist develop#ent@ (Afri!a World . 6ouis@ (>niversity of 'issouri .s in its hat and atte#pts to !on!eal the fa!t of doin$ so by han$in$ a flatterin$ly ban2rupt and all)but)irre#ovable #edallion about its subje!t's ne!2.er <tron$er than +tself& %he AA(' and A#eri!an 7.hat is Tirre$ularT in su!h pra!ti!es as the brea2in$ point ..n <.hi!h !reation be$ins”& %he Bla!2 Artists@ Group of <t.een ?free@ #usi! and !o##unitarian politi!s (or even a 2ind of utopian quasi)reli$ious #ysti!is#" are su$$ested in blo$posts at http&GGsprin$)any)day)no. I:J <o#e of the proble#s arisin$ fro# a too)easily dra.is ?A .ithin. Dou have to e2e out a livin$ doin$ so#ethin$ tedious and e.

",ISTO5 IM(,O:ISE,S CO55ECTI:E -"IC2
;and#ritten ,eminiscence
01 Mark W!ite&ord

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QA.hoever he is.uts on bandanaJ 'M: Dou loo2 li2e fu!2in$ A. 'M: +t@ll be a history. MW: + don@t !are + just .ant to be . MW: +t@s ho.e@re a bit late.l 1ose no.ere t. + re#e#ber it.l 1ose . I. MW: Well the first thin$ to say is sorry .T#o :oices &rom t!e "IC Transcription o& 6Intervie#7 4avid 'rund1 <<< Mark W!ite&ord <<< 'ra!am Mac+eac!an =>9?@9@@ <<< T!e Arts .ouse Ca&A% Stokes Cro&t% "ristol 4': *= it@s re!ordin$. Dou !au$ht us out there.o different Bristol !olle!tives? . 4': <o there .ar# A it@s fu!2in$ free4in$ here. 4': <o this is $oin$ to be the offi!ial? G unoffi!ial? history of the B+(.

D': Dou . MW: Deah. [1] ?Hotes on 6eo <#ith and Bob 5elson Arisin$ fro# a (on!ert@ by Will 'enter (first published in the !olle!tion T(o)operative 'usi!T by Bristol 'usi!ians' (o)operative E:O:. Bob 5elson and 'ar2 6an$ford used to have a duo 0ender 1hodes ele!tri! piano and bass !larinet I6an$fordJ and dru#s I5elsonJ.orld #usi! rather than little instru#ents? MW: Ho little instru#ents.eren@t really involved . But . 4': Did you have visitin$ #usi!ians fro# A#eri!a? MW: Well the !o)op put on 6eo <#ith.e .oodblo!2s. Ho.as a sli$ht !rossover.ere still doin$ stuff in about @PK @PL durin$ the last !ouple of years at 5ope (hapel.er)pipe per!ussion and .ere all doin$ ja44 $i$s and to #y #ind there .ere #ore pun2? 'M: Deah.ere !o#in$ i##ediately after those pun2 bands and that idea of learnin$ to play your instru#ent as you $o alon$.ere all less ja44)orientedQ 'M: Well they . MW: <o . 'M: %hey had their heads s!re.here a bass player and sa. %hat . %hey $ot $rantsU 4': <o .ith that.ed on the# lads !o#e on.as no !olle!tive a!tivity happenin$ any #ore.or2in$ !lass and bla!2 .IEJ MW: Deah that@s by Will 'enter and he does a 'ar. did it fold? 'M: We . %he sa#e 'enter $ot another $rant to $o to Si#bab.oodblo!2s .as Bob 5elson and 'ar2 6an$ford and Will 'enter.MW: %here .bless @e# that . 4': When did the !o)op fold? 'M: %hey .e did see .hen he .ian analysis of the differen!e bet. !o)op ja44 people !a#e to the B+(..ophone player turned up to the B+( and did a ja44 set.ere !o#pletely outside of that.e and study #biras.asQ? MW: Well the B+( started + re!2on about @PL. 4': *h yeah there@s that revie. And there .ards $i$s.as the# doin$ ja44 $i$s. available online at http&GG.ere still quite a!tive doin$ $i$s in pla!es li2e 'ontpelier 5otel.ith Bob 5elsonJ.netGleobob.as a very $ood if you li2e vibrant lo!al ja44 !lub !alled the Avon Gor$e 5otel and they had already #oved li2e so #any !olle!tives in #y opinion fro# !olle!tive a!tivity to. <o they . + .hat turned #e on to free i#prov in the first pla!e.asn@t. %o #e they@d all $one into playin$ ja44G Afri!an #usi! by the ti#e + $ot intoQ 4': 6i2e Afri!an pop .as /ohn Bouldin$ 1o$er <2er#an . %hey also .hite 1ashied Ali of Bristol. And one of the 'enter brothers $ot an arts !oun!il $rant of so#e 2ind to $o to (hi!a$o.as that one ni$ht . of the !on!ert 6eo <#ith did in Bristol I.aul <horehouse.een Bob 5elson@s ba!2$round and 6eo <#ith@s ba!2$round..ere a different $eneration to us. MW: Bob 5elson be!a#e the freeG #odern ja44 dru##er of !hoi!e in Bristol A he started really be!o#in$ the . 4': White . Will 'enter had his se. 4': Were you both in pun2 bands? 'M: + .ht#" .een the !o)op and the B+(? MW: %here . 4': Whi!h .e .as buildin$ . %here . 4': Was there any !rossover bet.or2in$ !lass. %hat@s . 4': Dou . %here . But .neufportes.hat happened? 5o.hat . But by the ti#e + $ot into free i#prov they had folded..ent to one of their $i$s.as the Bristol 'usi!ians@ (o)*p in the @O9sG early @P9s.as the one ti#e that e.

ho. %hey .ell A !uttin$ !ontests and all that stuffQ 'M: +t@s a .as !o#in$ #ore fro# the !lassi!al side A that@s ho. Dere2 Bailey .ere responsible for startin$ the .ho in #y #ind . to play.ere $ettin$ interested in it. And + thin2 in a sense i#provised #usi! let it be!o#e lo!al #usi! li2e fol2 #usi! so that you .e .e tried to play it.as at s!hool.as the other . people fro# art ba!2$rounds li2e Brian 7no !a#e into i#provised #usi!. 'M: (an + !ontest that and as2 for an e.hat it loo2ed li2e A older blo2es . and all that stuff but that .hen you started? 5ad you heard about the AA('? Be!ause there@s been all that s!holarship no.ays been a bi4arre thin$ a bit li2e 7n$lish blues A there@s so#ethin$ 2ind of pe!uliar about it se!ond)hand.ith the Geor$e 7.eird thin$ ja44 in this !ountry isn@t it be!ause it@s an adopted !ulture that@s been !rystallised as a set of rules A this is !orre!t ja44 and this is in!orre!t ja44 A but it@s an appropriation fro# another !ulture so in this !ountry it@s al.hole British free i#provisation thin$ A /ohn <tevens and %revor Watts and people li2e that A .ear #aroon !lothes and sandals and have lon$ hair and beards these older peopleQ 4': <o it .ere sho.ithin British or 7uropean free i#prov of the non)#usi!ian.hi!h !a#e out in @O8 or @OO and apart fro# that you just had to read the ba!2s of re!ords in those days. a lot about that stuff years before .in$ #e .as a session #usi!ian A all those lot !ould play !orre!tly and they .e@d .hen + .as CC or so#ethin$ . 6e.ith bare feet !lappin$ and shoutin$ and stuff you 2no.ere non)#usi!ians and that there .hen .as it less 2no.ere 0ran2 =ofs2y I?Bla!2 Hationalis# and the 1evolution in 'usi!@J and AB <pell#an I?0our 6ives in the Bebop Business@J but that .n about? 'M: + thin2 .as the <!rat!h *r!hestra and (ornelius (arde.ay roundQAll those people . the# I!o)op #usi!iansJ as hippies. 4': <o + $uess you@ve $ot the ja44 side .hen + .hi!h is virtuosi! people .is boo2 et! but that@s only re!ent A ba!2 then .a#ple be!ause + thou$ht it .e A + A sa. + found out by #ail)order re!ords fro# Glas$o.ere #ore virtuosi! ja44 players? MW: Ho be!ause there .as very !urrent in the @O9s .hen + .as sort of hippies vs pun2s? 'M: Qat #y a$e . MW: Deah .al2 into their thin$s and it . 'M: + #ean yeah there .ere all in the air for!e bands and you had to be at an a!!epted level of #usi!ianship to qualify for those bands.ere people A +@ve $ot this belief that there .here to put #y fin$ers on the bass $uitar A it .ho play ..as a tradition .ere !o#in$ out of (oltrane *rnette (ole#an AA('Q 4': Were you !ons!iously tryin$ to play li2e the#? 'M: + !ouldn@t even play rock properlyQpeople . 4': <o you .ards playin$ an instru#ent that .ere #a2in$ your sounds A or .as that real pun2 thin$ of let@s have a band and then learn to play.asn@t your instru#ent an instru#ent that you didn@t 2no.ere Malerie Wil#er ?As <erious as Dour 6ife@ .e . %he only other boo2s . + re#e#ber .as a sli$ht trend at one point to. + thin2 the only boo2s .as livin$ up in (u#berland in the @O9s .ould .4': <o it@s the pun2 ethos applied to free i#prov rather than a!tually playin$ pun2? 'M: Deah. .e 2ne. .ere !ons!iously A did you have a pro$ra##e . 4': + $uess that@s a $enerational thin$ be!ause #aybe the older $eneration .ould be li2e yeah hippies vs pun2s in a sense A be!ause that@s .ere jettisonin$ all the ba$$a$e and all the lan$ua$e all the !ultural referen!esQ MW: + thin2 there .

ere doin$ A . Dou@re delineatin$ a spa!e .hat .a2in$ up to the fu!2in$ #ess that the ..ay and #a2in$ our o.e [2] .hat they .e .e !ould be involved in the other e. 4': +t@s the 2ind of so!ial side of the !olle!tiveQ MW: And also just on a very #undane level you thin2 ?.ith bla!2 A#eri!an ja44 and that 2ind of stuff but in ter#s of real lived life the early @P9s .ay round.ht#l .as !alled a !olle!tive just be!ause it .hat@s the pressure on #e to not do .ouldn@t dare play so#ethin$ off a re!ord that you@d heard and tried to learn A you had to #a2e it up and #a2e it up in your o. other people doin$ this?@ A and then you also be!a#e a. But there . 4': Dou .e didn@t have that vo!abulary.ho or$anised . Goin$ into #usi! there . %hat@s . MW: +t .t . 'M: + !ontest the !olle!tivity of it insofar as it .ell + didn@t 2no.e .ere other people@s positions in relation to this? 'M: + !an@t even spea2 for #yselfQWell for instan!e even the idea of a !olle!tive + didn@t thin2 of as bein$ a politi!al thin$ up front be!ause A and here is another observation& it didn@t really see# to be a !olle!tive or anythin$.hy a# + doin$ this and .#usi!no..ideolo$i!ally it .ere tryin$ not to play riffs A you . We !a#e fro# opposite thin$s A you I'WJ !a#e fro# a 'ar.as no politi!al i#petus in #a2in$ sounds but #a2in$ sounds frees up your #ind to thin2 about thin$s in different .hy are so fe.as a $roup of friends.eren@t tryin$ to #a2e propa$anda #usi! li2e (ornelius (arde.ere basi!ally apoliti!al? 'M: Well ro#anti!ally or nostal$i!ally politi!al in the sense that you !ould identify . <o .istin$ !olle!tiveQ MW: +t did !o#e fro# pun2 A it .let@s say .as a !ore of or$anisation but if .ere also + thin2 !ons!iously tryin$ not to e#ulate styles that people played in.e .as into the politi!s first and then + dis!overed . 4' -to 'M2: Whereas for you it .e .eoples@ 6iberation $roup.ant.istG (o##unistG 'aoist ba!2$round and + !a#e fro# rural !onservative s#all)villa$e paro!hialis#Q 4': <o you .here they !ould do .hen .hi!h + thin2 is .ith the bla!2 po.e@d never heard of that stuff at the ti#e.aul 1eid Adjoa IAndohJ #e .ere $oin$ to #eet the ne.u2Gpl#Ginde.ant to in it A you@re settin$ up an autono#ous 4one that you !an do your shit in.hat .ee2 and so forth and it .ere learnin$ to$ether to #a2e our sounds and .n .e .ell .ere #a2in$ our sounds to brin$ it ba!2 to .6'"& see http&GG. But for #e it .eoples@ 6iberation 'usi! (.here you !an do .@s .hat .e .as politi!s and the #usi! !a#e after thatQ 4': But you .ay round be!ause + .e .as you I'WJ .hat +@# doin$@ A the personal is politi!al.as the other . + $uess you !an@t spea2 for others but .eren@t sittin$ around debatin$ diale!ti!sQ 'M: Ho be!ause .as #ore about .ays and you !an@t help but have so#e 2ind of !ons!iousness of the reality that those sounds are happenin$ in.as the other .!o.as a $roup a!tivity.hat you@ve $ot basi!ally A .steppin$ a.ICJ 'M: Ho .ere outsiders althou$h it ..are of ?.eren@t tryin$ to edu!ate the #assesQ 'M: Ho .n lo!alised lan$ua$e you 2no..n !olle!tive as a response to not feelin$ .as that idea that you don@t have to play an instru#ent but if the #otivation@s thereQ0or #e there .orld .? 'a2e a vo!abulary out of .hat you .hat .ith it.as just a bun!h of #ates settin$ up their o.as a na#e for the thin$ but it .as in. anythin$ about politi!s at the ti#e.orld .ell A there@s a #usi! that $oes .ere doin$ A ..er #ove#ent in A#eri!a that oh #y $od there@s this #usi! as .as i#portant about that !olle!tive.e didn@t sit around sayin$ let@s have a !olle!tiveQ 4': Dou .

ere just very #u!h doin$ that thin$ A it still $oes on A basi!ally the (oltrane thin$.al2ed into that $i$. 'M: Hot that it@s not $ood .asn@t a ja# session. 4': Was it every .e photo!opied flyers and that .as playin$ it really he just sat there drin2in$ his beer and readin$ his paperQ 'M: +t . %here . 4': What did they thin2 of you usin$ a !oun!il)type spa!e? MW: %hey .perien!e !o#pletely turned #y life around.ophonists tenor sa. 4': And they just let you have it for free? MW: Deah.or2& a lot of outsiders a lot of youn$ students.or2in$ behind the bar and to this day + !an@t re#e#ber that person $oin$ ?.ay in those days.as a very self)!ons!ious person A + still a# + suppose A and + have no #e#ory of ever .ell + .ophonists in Bristol at that point .there .as every fortni$ht.+ .hat@s that bar#an thin2in$?@ %o this day + still don@t 2no. And for #e + .hat + . %his is just a little story really but the first one .ere all out of to.or2er he@s just !o#e to have a pint after . +t .or2 and here he is stu!2 in all this noise@..asn@t very i#pressed that they@d #oved a.ee2? MW: +t .ho .as a sta$e.ere very anti)the Bristol ja44 s!ene A .u2G!o#edyGdi!2e#erysho. + thin2 it ..al2in$ in to that #usi!ians !o)op $i$ not 2no.as subsidised any.as .as quite an involved #e#ber of the !o)op.ere i#personatin$ other people li2e they ..ould not have the ri!h and .as + felt it had sold its soul.ouldn@t ta2e pla!e.ho . And at so#e point A anyone !ould $o on sta$e at the be$innin$ of ea!h pie!e A he $ets up and lo and behold he@s $ot a $uitar .ere out of to.onderland + dropped throu$h [3] http&GG.!o.e .as so#e flyers in re!ord shops libraries.e ever did there . 4': What had it done .ere !on!erned they ..hi!h + haven@t spotted plu$s it into the a#p and it@s flippin@ .ere a !ouple of sa..ouldn@t happen A if those four people .as a bar there .n those #eetin$s .onderin$ ?. +n those days all it . his na#e.ere $reat. 4': Did you have a parti!ular venue? MW: Dup !oun!il so!ial !lub.as li2e 0ield of Drea#s A “if you build it they .G . 5e . if + hadn@t .as so#eone .asn@t born of our lives and .ithin that idio# A there@s a lot of $ood thereQ MW: We used to !all the# ?%he Di!2 7#ery Vuartet @IKJ be!ause as far as .hat the fu!2 is all this shit?@ + .n that .ay fro# !olle!tive free i#provisation into ja44 $i$ perfor#an!e.as li2e ali!e in .ood.ere i#personatin$ /ohn (oltrane.aul <horehouse .asn@t born of our environ#ent. %here . + #ean to be fair + #ust e#phasi4e that . We put so#e !aveat there A ?no ja44@ or so#ethin$ A just to #a2e sure it .as this $uy sittin$ off at the other end of the bar in a don2ey ja!2et A and + thou$ht ?oh fu!2 it@s a !oun!il . MW: A lot of us .in$ anythin$ about .onderful life that + have no.ron$? MW: %o #y #ind it had $ot into e#ulatin$ a 2ind of thin$ that .ill !o#e”Q5avin$ !reated that little spa!e in that !oun!il so!ial !lub people !a#e out of the .bb!.as it.as about to e.

ere radi!al but + suddenly thou$ht ?no this is so#ethin$ else. 'M: + .tent that .+ felt ?+@ve dropped throu$h another . %he only thin$ that 2eeps any !olle!tive to$ether is that there are benefits fro# havin$ the na#e of so#ethin$ bein$ a !olle!tive .op Group +@d listened to the <e.as but + .this hole and + just .ho are prepared to fill in the for#s and do the ad#inistration for that and it fra$#ents to the e.as radi!al.or2 . MW: What you@ve $ot to bear in #ind is !olle!tives need #aintainin$.it $ives it !lout.as people shiftin$ into ja44 thin$s here and this duo here and this ele!tri! band here.asn@t dis!ountin$ of it A + had a faith + thou$ht ?this is . ho.ent ?What the fu!2 is this? Are these people playin$ to$ether or are they just #a2in$ noises and i$norin$ ea!h other?@ +t .hi!h a fra$#ented bun!h of individuals !ontrol A the use value of the na#e of it bein$ a !olle!tive is stron$er than the !olle!tive feelin$ of individuals . ho.ith a !olle!tive@ rather than ?.ay fro# a!tually !olle!tivity to.ant to do that any #ore.hether it@s hu#an nature or so!ial !onditions in this #indset this 7uropean #indset this !ulture + don@t 2no.e all float around the ed$es of that and further a. far !olle!tivity a!tually . <o .e doin$? all . <o at a #eetin$ about ?shall .hi!h see#s to be pretty standard& there@s a lot of e.ith a bun!h of #ates@Q MW: +@ve done that +@ve put it on #y (MQ 'M: Althou$h ?!olle!tive@ these days it@s a dirty .hat happens it fra$#ents and traje!tories diver$e. for#s a 2ind of ja44 $roup and there@s less and less intera!tivity bet.hat the hell are .ay fro# the !olle!tive !entre.ere seein$ .ithin it.hat@s that .orld and + didn@t have the lan$ua$e to approa!h those people@. At the #o#ent of in!eption the idea of !olle!tivity is at its #ost potent and . what it .ent ba!2 to #y pun2 band but very qui!2ly started to thin2 ?.ith the old Bristol #usi!ians@ !o)op .ord A !onsensusQ 'M: ?'anufa!turin$ !onsensusQ@ .hat you .ith the# Ithe !o)op #usi!iansJ on a personal level A #aybe + didn@t 2no. +t@s an or$anisational thin$ it repli!ates all other hierar!hi!al or$anisations.peri#ental stuff and a lot of tal2 about !olle!tivity in !olle!tives A in!ludin$ the old #usi!ians !olle!tive in its first ?heroi! phase@ as they say A but then there@s a traje!tory a.or2s A it see#s to have this half)life .ho are prepared to or$anise be!o#e the inner !ir!le and . <o the !olle!tive thin$ + thin2 is only ever no#inal apart fro# a very very brief flo. to introdu!e #yself. .here it !ould be !onsidered !olle!tive and then beyond that thin$s or$anise the#selves around a tiny nu!leus of people .here it@s !onstantly !onstantly fallin$ apartpeople .ards a sort of !loud of individualis# and the traje!tory also see#s #usi!al in that thin$s be!o#e #ore and #ore idio#ati! or styles !rystallise as ea!h traje!tory shifts a.ith the 6ondon 'usi!ians@ (olle!tive after it .orth so#ethin$ this represents a lot of #y thin2in$ and feelin$ at this #o#ent@ althou$h + didn@t !onne!t .ay fro# that.ay fro# that .heel A that@s .e@ve $ot this proje!t $oin$ on here and this proje!t $oin$ on here and person .@ + didn@t 2no.ord.e@re doin$ is rehearsin$ son$s and perfor#in$ the#@ and + didn@t . When +@# doin$ stuff in Bristol that@s basi!ally !onsensus based A that stuff it doesn@t just happen by a!!ident you@ve $ot to fo!us on it.een the different spo2es of the .istols and +@d been told they . 4': Dou !an say ?+ . <o + . +@d listened to pun2 ro!2 +@d listened to the .e use this hall or use that hall?@ so#eone else has to also be in !har$e of #aintainin$ !olle!tivity A . %he sa#e .as thin2in$ about that traje!tory a.as initially set up A you have a very brief phase .erin$.

estern #ind the .here it $oes .as that !onstant thin$ ?oh they !an@t really play and the only reason they@re playin$ that #usi! li2e that is be!ause they !an@t play.or2 out ho.ere doin$ stuff that sho.there !o#es a point . MW: Deah.@ And for #e listenin$ to the Art 7nse#ble there . 4': Dou thin2 they .estern need to a!hieve so#ethin$.hat + find interestin$ about %he 1evolutionary 7nse#ble .as very te!hni!ally $ood A it . And !o#in$ ba!2 to te!hni!al ability + thin2 one thin$ that happens a lot A + thin2 it happened to the Art 7nse#ble A + 2no. 7verythin$ they started to do A a bi$ !ontin$ent of it .@ 4': As if it #atters.oh loo2 .as playin$ .e@ve been here three hours already and .@ A lot of #usi!ians have that A *rnette (ole#an (e!il %aylor %he Art 7nse#ble of (hi!a$o A there .hen + $o to <afehouse in Bri$hton and so#eone $ets their soprano out and plays it properly + thin2 ?#aybe + just need to prove that + !an play this thin$.as inte$rated. 7ven .ithout e. And to #a2e sure that you stop achieving thin$s be!ause + thin2 a!hievin$ thin$s is to the detri#ent of our lives to the detri#ent of doing thin$sQ+ thin2 that@s .e !ould $et an arts !oun!il $rant and have a $i$ here and play .orld.ere doin$ that be!ause people .ith the B+( then? 5o.hi!h be!o#es #ore i#portant $ets prioritised over and above the idea of #aintainin$ !olle!tivity. And it@s interestin$ that all the stuff that didn@t prove anythin$ li2e playin$ the toys that didn@t prove te!hni!al ability .s? But they started be!o#in$ .ay less tin2ly less spa!ey. <o there@s this !ru!ial point .e@re $onna trash the !ops at GC9 so let@s just !ra!2 on@.asn@t strai$ht)ahead rhyth#s but it .pe!tations and then you thin2 A ?han$ on a #inute . .ith lon$ sa. 4': By . And so#e. But the thin$ that really thro. 4': <o you have the !olle!tive start)off .ophone.as that it .ron$.hen they $o ?listen !onsensus is fine but . .ophone solos et!. to play the sa.s the !onsensus thin$ off is the .ed they !ould 2eep a beat that they !ould do blah and do blah.ere !riti!i4in$ the# A .as a point .ith #y fine avant)$arde outsider status still .e do need to ..histlin$ so it .hat it .here in #y #ind in #y e$o it does #atter. ho.ay of !ontrast .e !ould a!hieve so#ethin$ here.ere 2eepin$ beats A they . did it i#plode? MW: +t didn@t really it just fi44led out.MW: +n non)hierar!hi!al pro$ra##es so#eone has to stay on top of !onsensus.ith the# be!ause they did fall foul of that& they see#ed to be playin$ a lot #ore ja44ily .ith this fa#ous person here@ A and that@s .asn@t that #ore payin$ tribute to an Afri!an)A#eri!an tradition? MW: Who 2no.here there@s another fa!tor . 4': What happened . MW: As if it #atters.hen they thin2 han$ on +@ve $ot to ?a!hieve@ so#ethin$ no.ould turn the radio on or $o up to the #i!rophone and start . +@ve $ot it A is that you@re bein$ a free i#provisin$ #usi!ian but if you@re playin$ in front of other people you thin2 ?yeah but they@re $oin$ to thin2 + don@t really 2no.as very intri!ate they !ould play the hell out of their instru#ents A but then they .as that they . 4': But is there #u!h point in #aintainin$ !olle!tivity if you don@t $et anythin$ done? MW: Des in order to #aintain and $et collectivity done. in the idea of !onsensus. 'M: %hat@s the inherent fla.as $one by the @P9s.here the proble# startsQ 'M: All those hoo2s $et into your fleshQ MW: +t@s e$o and the outside .here + fell out of love .as that a lot of .

!an .ere so#e people .ton tal2s about thatQ 4': But you .as !apable of $oin$ up there and blo. !an .ould define it ta2es pla!e.e stop it be!o#in$ pop #usi! or ja44.ho .e .as li2e a one #an version of the#.as too e.a!tly.as a#a4in$ it really .elsQ+ thin2 Bra. <o our #ain $oal .ell and you so#eti#es !ouldn@t tell if it .he didn@t fit in the nor#al he$e#oni! so!ial .as very effe!tive A + .eren@t any #eetin$s there .ould blo.ould happen .4': <o it . .there@s a hu$e history A there are !ountless people .as just that people #oved a.here so#e free i#provisation as we .as artisti! A it . <o + suppose our only dire!tive or plan A the #ain fo!us . 'M: +f you . and he needs honourin$.o or three hours on a . And to be fair it .hole fo!us really .ere really just a foru# for !o#in$ to$ether and doin$ so#e free i#provisation. %here .as very very i#pressed by ho.as playin$U 5e just .ent ?s2rrrreee@Q 4': <o there so no .ho@ve never re!orded .here and there@ll be a tiny little $roup of people .he played i#provised #usi! for all of his life.ith his alto and he .ayQ MW: 7.ant to 2no.eren@t studyin$ esoteri! te. i#provised it .as ho.here and you !an play and you have diale!ts and lan$ua$es and you #utter and #a2e your point and tryQit@s a fol2 #usi! the sa#e . everythin$ apart.ay that in +reland you !an !arry your fiddle and $o sit in in a pubQ 4': A universal lan$ua$e universal $ra##arQ 'M: Dou #ean li2e the 7$yptian =e#eti! stuff A the seven vo.ay so therefore he .as ho.e had a suspi!ion that a little !o#bo .ere into pop #usi! all 2inds of shit but just by havin$ these little te!hniques /ohn Bouldin$ bein$ one of the# A one thin$ that .ho do i#provised #usi! in their ho#es or out in a hall or even try and boo2 $i$s and you $o any. !an .ouldn@t hear itU MW: 5e .tsQ . 'M: 5e .as $ettin$ on that sta$e that .as absolutely dedi!ated to it. <o our .asn@t that pro!ess of arts $rants et! it . + thin2 if the old Bristol !o)op had #ade a re!ord they .hat he sounded li2e thin2 of that A#eri!an band Borbeto#a$us A he . MW: And this is one of #y bu$bears.as to stop people as + . 'M: 5e . Be!ause as Graha# said .ere $oin$ to $et into so#e ja##in$ or so#e pop riffin$ all .as that if .as alto or $uitar he .tre#e #usi!ians in one .as the B+(.ay or anotherQand not just #usi!ians artists in $eneralQ +t@s a fol2 #usi! for #e it@s a fol2 #usi! you !an ta2e your instru#ent and $o any.eren@t really a !olle!tive.ay you !ould riff behind thatQ 'M: Well you !ould but you . 4': Are there any re!ordin$s? 'M: Ho + don@t thin2 so.tre#e. %here .e have t.in$ everythin$ apart. 5e played alto and he played $uitar as .ould see it re$ressin$ into a ja# session.e@d do is $o to /ohn and $o ?/ohn $o up@ be!ause he@d $o up there . years no.hatever it .as 'onday evenin$ on!e a fortni$ht .e stop this #usi! be!o#in$ a ja# ho.ell A it .asn@t a!!epted as an artist.ould have for$otten to tell /ohn to turn up that dayQ But this is another thin$.or2ed very .ho@ve been interestin$ and e.e . 5e@s been dead a fe.eren@t any !o##ittees . 4': But he never $ot any re!o$nition for it.

as a !ore but anyone !ould turn up and !o##uni!ate A you didn@t have to 2no.ho do itQ 'M: Ho it@s the doin$ A the doin$ havin$ pre!eden!e overQ 4': 6i2e .e $et this bit .. 'M: But all that tal2 about spirituality A it@s essentially a .as so#e boo2 tal2in$ about the spirituality of sound and . +t@s all $ood as they sayQ .ho are also there to listen or #ove about to it A that’s $ot a so!ial fun!tion.here he@s sayin$ that it all !o#es fro# the sa#e i#pulse A /a#es Bro.ay of bein$ in the spa!e + supposeQ 4': Would you say that #usi! is a so!ial spa!e? 'M: Deah. MW: But + thin2 there .here the !onsideration of it havin$ a value outside of the spa!e that it@s done in ta2es pre!eden!e over the #o#ent that the #usi!@s !reated in. the#Q 'M: Deah.hat@s the . %here #i$ht . . +t . What . And if .ouldn@t brin$ any of those te!hniques into the #usi!? MW: Hot the sounds not so #u!h not these days.e !ouldn@t sayQ MW: + read and studied a !ertain a#ount of sha#ani! stuff A 7uropean and (elti! #ostly.as so#eone there . anythin$ about that. MW: + thin2 there@s a notion A it@s al#ost li2e .or2 A is it a thin$ bet.as a!tually a pla!e .as about ?!an .hen they $o to art s!hool and art tea!hers $o ?yeah that .@ 4': Would it .n is sin$in$ about se.and it .here you pra!ti!ed . the people . +t@s #ore the a!tual . <o for #e it . are .e do is in a so!ial spa!e.asn@t about ?ho.e in the spa!e@ be!ause #ost rehearsal spa!es are dis$ustin$ and un!o#fortable. 4': %hou$h there is that IA#iriJ Bara2a essay I?%he (han$in$ <a#e@J .asn@t so!ial it .hat@s happenin$ in that roo# is bet. 'usi! has a fun!tion a so!ial fun!tion A .here .e .n that@s so!ial.ith people and .een the people .as around at that point A that anthropolo$istQ 4': 'ir!ia 7liade? 'M: *h $odQthat fits on the shelf alon$side Blavats2y and Annie Besant and all that theosophist stuffQAlthou$h that@s be!o#in$ in!reasin$ly respe!ted no.or2s@.. MW: 0or #e even the rehearsal .e did .haraoh <anders is $oin$ ?o#########@ but it@s the sa#e i#pulse.ell have been a boo2 that .ord A produ!tive. +f you@re in a roo# .een those people and any other people .'M: We don@t 2no.n all that stuff A there@s a $reat history of #usi! that@s for a so!ial purpose predo#inantly and only then is it flo$$ed on the #ar2et.ould also have pi!2ed up so#ethin$ fro# <un 1a.a#ple has a pra!ti!eQ 4': But you .e all !o#e in ri$ht. + just have this feelin$ if you@re $oin$ to lead a spiritual life you need so#e 2ind of pra!ti!e A that@s #y personal belief and + 2no.asn@t about relatin$ to ea!h other as hu#an bein$s it .hat #usi!ians are doin$ A #usi!ians li2e /a#es Bro.to #e that@s a bit li2e $oin$ ?oh there@s a spiritual ele#ent to that #usi!@ A it@s the sa#e thin$ it@s $ot no real foundation and for #e there@s no spiritual pra!ti!e to ba!2 it up. that /oseph /ar#an for e.ith the !olle!tive there .hat + thin2 doesn’t have a so!ial fun!tion is .as not so!ial fun!tion it .ho do it A do you have to 2no. <o if you@re in a ro!2 band or a ja44 band or any band and you@re pra!ti!in$ to try and $et $ood so that you !an #a2e a tape so that you !an tout it around and flo$ it on the #ar2et A that doesn@t have any so!ial fun!tion you@re just bein$ a fun!tion of !apitalis#.hat you #i$ht do later. <o all 2inds of #usi! have so!ial fun!tion A /a#es Bro.as A .ay of sellin$ your produ!t li2e ?spiritual ja44@.

<o if you loo2 at the pub over the road .ith the B+( A #e .n satisfa!tion nothin$ else.e advertised itQ 4': What about 4ariba?ILJ %here@s at least ten people . !an .n satisfa!tion + li2e to run !olle!tions of hand)pi!2ed #usi!ians be!ause +@# just loo2in$ for #y o.ouldn@t there be so#e ele#ent of to2enis# in tryin$ to attra!t the#? +t@s li2e sayin$ ?.hen did it Ithe B+(J dissolve? MW: When .ards people joinin$ that 2ind of so!ial #ilieu. +@ve enjoyed joinin$ the (heltenha# +#provisers *r!hestra and <afehouse in Bri$hton but for #y o.a!tly .they@re $oin$ to . +@ve quite enjoyed joinin$ other people’s !olle!tives A and all the lan$ua$e +@# usin$ is e. ILJ Sariba is a loose !ollation of #usi!iansG dan!ersG poets based in BristolG (heltenha# G 6ondon .ould you en!oura$e people to .ant to dispute? 'M: %here@s a point +@# not quite sure .ith .ho $o do.e 2ept it $oin$ till then.ay fro# !olle!tives.e@ve just tal2ed about A but + see it as so#eone else@s + don@t see it as ?#ine@ .e don@t have any bla!2 friends ho.hether . 'ar2 at all? MW: Ho it@s !hroni!.e $et a bla!2 friend?@ +t@s that 2ind of #e!hanis#Q MW: Ho it@s that our thin2in$ and our #odus operandi is basi!ally ra!istQ 'M: + . 'M: 5ave you ti!2ed the ethni! bo. But .n. 4': Don@t you thin2 these thin$s should just happen or$ani!ally? MW: Ho + don@t thin2 ra!is# is $oin$ to be ta!2led by or$ani! #eans. Althou$h there@s still a politi!al ele#ent to the 4aribaQ 4': What is that? 'M: Dou@ve $one <talinist 'ar2? MW: Deah + re!2onQha ha. But this is the trouble .hite that@s $oin$ to set up a barrier to. + #ean if they@re not involved .ee2 .hat .ould be ?ours@.hite people in Bristol? MW: <o#ethin$ about usin$ venues bein$ in areas.al2 in and see it as they@re the only person in there as a person of !olour.ho are say no#inally non).e all left to.hereas if it .4': <o . .ould be the differen!e or benefit or even just point of attra!tin$ to this pra!ti!e people of for the sa2e of ar$u#ent a different !olour of s2in. so#eone is be!ause you .ithin anar!hist !ir!les the sa#e A there@s a lot of people pushin$ all the ti#e and sayin$ ?loo2 everyone needs to be involved it doesn@t .usin$ venues that are not in areas .here people .aul Adjoa opened it up every .ho@ve turned up over say the past four yearsQ MW: Deah but 4ariba@s not a !olle!tive. 'M: 5o. +@# not interested in runnin$ a !olle!tive.ould !ontest thatQ 4': + personally $et un!o#fortable . +t@s ende#i!.ant to 2no.ay fro# the idea of the virtuoso.as truly a !olle!tive it .here you open the door and all the fa!es you see are . 4' -to 'M2: Do you .illin$ly !o#e and play i#provised #usi! .e@re a bun!h of #ates .hat the point is A in #usi!al ter#s it . + left Bristol in @PO A + !an@t re#e#ber .ith tryin$ to ?re!ruit@ people.or2 if one person is the #otivatin$ for!e@.n the pub and .ho have done o!!asional publi! perfor#an!esGresiden!ies and re$ular private sessions or$anised by 'W.the only reason you . %he politi!al ele#ent A + strive to $et a lot of fe#ale involve#ent and + try to in!orporate #undane everyday a!tivity to $et a. .ant to re!ruit the# to your !ause A it@s not or$ani!.estern so!iety at the #o#ent as Graha#@s already been sayin$ Aand you $et it .ouldn@t nor#ally $o.+ or!hestrate itQ+@ve !o#pletely #oved a.

e did so#e stuff .ood.hi!h .o thin$s + .ere pure. MW: We .hat you@re doin$ you@ll end up doin$ .irates of the (aribbean.hat else do + do that@s outside #y a. +t@s usually . $roups that a!tually did very lo.ere a nu#ber of us that intervened to stop it be!o#in$ a ja# session. .%he An$eli! (onversationQAll these different !o#bos that !a#e out of it. Be!ause li2e Graha# said there .hy it . 'M: %here . But yeah .as a theatre and i#prov thin$.e at least .e@re not $oin$ to do . .ould !arry on past the individuals on!e they@d left Bristol.asJA if not an e.ho@d never heard anythin$ li2e this in their lives.%rellis. MW: + thin2 . A lot of people that .as a .asn@t any a!tual fi.the !ase a$ainst it has been overstated.ith (unnin$ <tunts .as no #oney there .e had a load of bands.ise if you don@t have a !ons!ious !he!2in$ of . 'M: Deah ba!2 to that point MW: But + have a feelin$ that people in Bristol that are !urrently involved in .e had so#e $ood ti#esQ 'M: +t@s rhi4o#ati! isn@t it.there . All of us sittin$ here have #ade !ons!ious de!isions about ho.hole load of youn$ people I. #u!h they@re feedin$ into if not pro#otin$ so#e he$e#ony that you don@t a$ree .e just fi44led out be!ause + A .e@re $oin$ to lead our lives and de!ided .ist any#ore.ent do.hite people .MW: But + thin2 the personal is politi!al A you do have to loo2 at your o. QBut to $et ba!2 to the B+( .hat .n for a $i$.hat !a#e out of the B+( . +n the end . A lot of bands !a#e out of it.ith the *.ford +#provisers !o)op Ias .or2 as the B+( the feelin$ + had .ere opposed to $roup for#ation.n behaviours and patterns and as2 ho.as that .ith 'a$$ie IHi!olsJ and also . <o it .as no treasury there .hen .hat everyone does.ant to address fro# .hoJ started for#in$ i#provisin$ bands.n there they paid us to $o do.ere these people .as that so#e !o)op #e#bers so#e of the older #e#bers $ladly e#er$ed and said oh than2 fu!2 no.e A stopped puttin$ up the posters and hirin$ the venue.ent oh bli#ey ri$ht o2 A oh shit you !an do this.ere #ore li2e $uidelines to quote .e never even thou$ht of applyin$ for any #oney for it any 2ind of le$iti#ate pro#otion fro# any outside sour!e.ho say it@s not needed that ra!is# doesn@t e.ith politi!al !orre!tness. y 4.there .e all started operatin$ a$ain and !a#e out of the .ed stru!ture that .!han$e .ere no rules that + re#e#ber A they .ho played in the 0e#inist +#provisin$ Group .0lob.it 7nter 6eave.ere playin$ at the B+( had never ever listened to free i#prov *rnette (ole#an none of that shit and they !a#e and just .e .e did our fortni$htly thin$s .as no dis!ussion there .asn@t as thou$h .)level $i$s.this one and this one and this oneQ 4': <pread all overQ 'M: +t@s on a tiny tiny tiny levelQ 4': At a fol2 level.ere tal2in$ about earlier& + thin2 .ith. Be!ause other. And for #e there@s a point in just thin2in$ ?. 'M: And this is another reason .2es the soprano player .hat !a#e out of it A there@s t.areness@? + haven@t $ot any proble# . And #y feelin$ . 'M: We had strate$ies A oblique strate$ies or !rass strate$ies or both.ere a!tually quite a fe.e !an start doin$ so#e free i#prov a$ain& Merity 5a.as a beautiful thin$ A .7.e . MW: %here .it 7nter 6eaveQ 'M: 0lobQ%rellisQ MW: 7..e did so#e $ood stuff .

e.o#e 3outu0e Watc!: 4on C!err1 :ideo Special .there should be as #any unoffi!ial histories as there are people .Q MW: Dou need to say that this is just one fi$#entQ 4': A fi$#ent of our !olle!tive i#a$inationQ Still to Come: 4avid 'rund1 on 'A&ternoon o& a 'eor ia Faun' 01 Marion "ro#n 5ut* Eitel on t!e :isual Art o& (eter "r)t*mann and +eit! .e.evie#s o& .ho@ve done it.ay there shouldn@t be an offi!ial history of this 2ind of stuff.e shouldn@t be doin$ this .hole intervie.ecent C4s and .peri#ental and so)!alled i#provisation probably have no idea of the tradition that they@re !o#in$ fro# of the #usi!ian@s !o)op of the B+(Q 'M: Des and that@s ho. it should be A a non)!entred no)offi!ial)history fol2 #usi!. +n one . 4': <o .Issues Freedom o& t!e Cit1 =?@? Wandel#eiser .

ay that . %hin$@ #ove#ent of the @89s and @O9s.or2 fro# the late O9s and throu$h the ei$hties .” ?1e)assess#ent@?re)appraisal@ A these . %rue also that al#ost all of his re!ordin$s . What then is the !atalyst for su!h a pro!ess? What #a2es us (!riti!s listeners #usi!ians" suddenly pay attention havin$ i$nored the for$otten obje!t for so lon$? <adly it see#s that so#eti#es it ta2es the death of a $reat artist for us to really pay proper attention to . %rue he had barely played in the last !ouple of de!ades due to ill)health and so#e disastrous #edi!al pro!edures and his strai$htahead ja44 .n . years before and .tended their influen!e to the .ophonist ethno) #usi!olo$ist !o#poser and . years a$o the band 5is Ha#e is Alive released a surprisin$ly effe!tive (and affe!tin$" albu# !onsistin$ solely of Bro.ay on *!tober EPth C9E9 is still #ost frequently #entioned as ?one of the sa.ho !a#e to pro#inen!e durin$ the flourishin$ ?He.peri#ental period..a#py dronin$ ele!tri! $uitars and pianos and free ja44 horn parts in a .“A man #alkin into t!e &uture 0ack#ards$: Marion "ro#n% t!e American Sout!% and 6A&ternoon o& a 'eor ia Faun7 “+t@s hi$h ti#e for a re)assess#ent of the .riter 'arion Bro.ho passed a. that over the past fe.ho played on /ohn (oltrane@s scension@ A this despite the fa!t that he subsequently produ!ed an i#pressive body of .or2 ar$uably equal to that of any of the #ajor artists .ophonists .orld of left)field ro!2 #usi!& a fe.ere out of print thou$h #ost had be!o#e available in re!ent years on #usi!)sharin$ blo$s and had perhaps even e.hile pleasant and #elodi! la!2ed the stru!tural and e#otional ran$e of his #ore e. And it@s noti!eable that the alto sa.hat they !reated durin$ life.ords i#ply that so#ethin$ has been (unjustly" for$otten and hen!e that it #ust be dis!overed ane.illin$ to ta2e it in different dire!tions.ith s. +n any !ase + 2no.or2 of Artist N.as both faithful to the spirit of the ori$inal #usi! and .n@s !o#positions !o#binin$ Afri!an per!ussion .

iano Vuartet re!ordin$s of the #id):9s .tension of the ori$inal tune A a !ounter)#elody or su!!ession of !ounter)#elodies fitted .ith a depth that re.ith ?playin$ free@ or ?bein$ innovative@ as .n ." +n so#e .n feel of a pie!e li2e '=arintha' fro# 'Gee!hee 1e!!olle!tions'.ith Alan <horterIEJ he .ophone@ and ?1e!olle!tions A Ballads and Blues for Alto <a.d and this perhaps a!!ounts for the rela.o solo sa.ards deeper and further di$$in$ re)listenin$ re)appraisal re)assess#ent.as #ore understated relyin$ on the !arefully !hosen phrase on !lear #otivi! develop#ent rather than the pure soundGs#earGs!rea# ta!ti!.ay that sound spontaneous rather than pre)planned.ith perhaps t.here the tunes flo.and it's .ith Burton Greene and in his o.ell !apable of e#otin$ to $reat effe!t (the prelude se!tion to '(reator has a 'aster . %his approa!h !an be heard at its purest on his t.after the release of that tribute albu# + have returned a$ain and a$ain to Bro. Despite his ne$le!t Bro.oodsheddin$ revisitin$ the fa#iliar #elody thin2in$ about it as he plays A pi!2in$ up for e.hi!h $ives Bro.t in .n@s #usi! its spe!ial ?voi!e@.ell .here the solo .hi!h ad#ittedly <anders and <hepp shared" and above all a sparer approa!h than the other t.in2lin$ ele!tri! piano #elodies and !hordal te.as a !onte.in$ but throu$h !o#positional and or$ani4ational strate$ies si#ilar to those adopted by the AA(' (. All alon$ thou$h and despite overtly free ja44 .hole band that one re#e#bers after the #usi! stops as #u!h as it is the playin$ of the leader. %his is not a!hieved throu$h free !olle!tive blo.n@s re!ordin$s .een 7llin$ton@s ?Bla!2 and %an 0antasy@ and ?As2 'e Ho. 5ere Bro.enty or thirty people in the !ro.or2 .ere .ophone re!ordin$s fro# the late O9s and early P9s ?<olo <a.as never a fully)fled$ed #e#ber" or throu$h a loose $roove)based approa!h that see#s to derive at least in part fro# ja44 fusion.ere pra!ti!in$ in a ba!2 roo# .n often played thou$h he .ith si#ply playing standards #ostly. 6isten& it's there . (+@# re#inded here of Anthony Bra.asn't so #u!h ?He.hi!h he played often at s#all lo!al en$a$e#ents .ithin the ori$inal !ontours of the pie!e.ays thou$h that solo re!ordin$ is so#ethin$ of an ano#aly in Bro.o #usi!ians.hen he ta2es ele#ents of the 2eyboard)ri!h sound found on early 'iles Davis fusion ) all those t. +t@s al#ost as if he .n@s re!orded .ton@s approa!h to standards on his .ophone@. %he result is a spe!ial 2ind of at#osphere A that intan$ible quality .@ the latter appended as a little !oda to the end of the for#er in a . %hin$@ as into his o.n is not so #u!h !on!erned .tures ) to build so#ethin$ that's soothin$ly lovely stati! and hoverin$ ('<.haroah <anders. into one another #edley)style& i#provisation as a #ethod of #elodi! thin2in$ that har2s ba!2 to the earliest develop#ental sta$es of ja44 .n .hose #e#bers Bro.lan' or <hepp's $or$eous i#pressionisti! readin$ of '+n a <enti#ental 'ood' (fro# '*n this Hi$ht' E:8B"" Bro.hen .!use not to have to delve into the te!hni!al details of ho.n thin$ A a $ood dose of !lassi!al influen!e an interest in ethni! #usi!s (.ith different instru#entation he !onjures up the .onderful ha4y later)su##er s#all)to.hi!h so $enerously so easily $ive up their ri!hes A a!!essible on first listen but . %he solo !on!ert .a#ple on !onne!tions bet.as !ertainly as $ood an i#proviser as the better)2no.eet 7arth 0lyin$'".as an e.it's there .ith .n ?He. %hin$@ #usi!ians Ar!hie <hepp (an early friend and #entor" and .ed feel to the #usi!.hi!h !riti!s love to harp on about perhaps as an e.n $roup .or2 for his finest #usi! invariably fo!uses very #u!h on a $roup ethi! A it@s the sound of the . said ?at#osphere@ is a!tually a!!o#plished A that ?$rain@ . Whereas <hepp and <anders .

+ don@t have to borro.l but had an enor#ous intelle!t and spirit.n blues the to.hose #usi! ?nature@ is the ?nature@ of the .” ILJ %he blues in all its different for#s A the !ountry blues the to.ns in the <outh.ith its al#ost (harles +vesian #elody.n@s <outhern ba!2$round.n !o##ented& “We bonded in a .there . as spe!ifi!ally ?<outhern@ or #usi!s in this .n <outhern !hildhood A a life let us spe!ulate that . Dor2 (ity and be treated li2e a dirty do$.B. Dor2 (ity .ere Afri!an A#eri!ans born in the Horth.ith hardships and injusti!es that are present .hi!h see#s to be half)asleep yet is !rafted .ith.in$ on the resour!es of #e#ory to !reate a quasi)#ytholo$y .”ICJ %his is not si#ply a ro#anti!ised A#eri!an pri#itivis# !ontrastin$ .as quite fortuitous #eetin$ 'arion.ith that pain that sense of a.hi!h early blues lyri!s so often attest& “+@d rather drin2 #uddy .ays a #eltin$ pot A Afro)(uban per!ussion #elded to #ar!hin$)band instru#ents ?street.perien!e.nplayed re!edin$ into the ba!2$round of an i#a$inative and partly i#a$inary drea#s!ape.arisian !ity)d.ith li$ht and shade .here he #et Bro.ould later #anifest . +#portantly this is the <outh as re!alled fro# the Horth fro# the bi$ !ity the ?Bi$ Apple@ (and even fro# abroad A Bro.ays held onto his southern dra.ith subtly shiftin$ deli!ate i#provisational !are.ith the !ity sophisti!ation of say (e!il %aylor A indeed the title of Bro.n lived in .ith tou!h and taste and si$ht and s#ell rather than the adrenaline and sti#ulant bu44 of the !ity A a life . Afri!an) A#eri!an #usi! .as never !uite like this . fro# the#. =in$ is #y 1avi <han2ar”.ithin the drea# but do.ith Bro.ho also #oved fro# the <outh up to He.n .hen he presents a !hallen$in$ly indeter#inate (thou$h in fa!t !arefully or$ani4ed" avant)$arde sounds!ape on 'Afternoon of a Geor$ia 0aun' ) #usi! .ith .alri$ht a life that .hi!h to !ontrast life as it is lived in the #etropolis a #eans of !opin$ . I8J *ne #i$ht ar$ue that this thesis is so#e.erhaps it has so#ethin$ to do . +t .aris fro# E:8O)E:O9IKJ" dra.2. + do listen to #usi! of other !ultures but + just find the# interestin$.as in pro$ress but never for$ot his re$ional roots. 'y #usi! and #y past are ri!h enou$h.eather and the seasons by an en$a$e#ent .eller@s boat trips and river)side pi!ni!s or of an idealised !lassi!al ar!adia rather than the ?nature@ of $enuine rural e.ater and sleep in a hollo.ardness and un!ertainty to .n@s !hildhood A and one #i$ht not i##ediately !on!eive the #id)89s free ja44 dates for 7<.here #y #usi! !o#es fro#.ere both fro# s#all to. 'ost of #y !lose friends in $eneral . Bro.as quoted thus in the liner notes to Porto "ovo& “'y referen!e is the blues and that@s .ith so#ethin$ ?unreal@ about it so#ethin$ undefined ha4y drea#y even surreal. . lo$G %han $o up to He.as al.ay.n is doin$ is to apply the drea#y sy#bolist lan$uor of turn)of)the)!entury 0ren!h i#pressionist !lassi!al #usi! to his o. up . Dor2 .hat tenuous A + #ay be applyin$ an ina!!urate pro!ess of i#a$inative transfor#ation to Bro. 5e re#inded #e of people + $re.ise@ sensibilities that .ay. We . What Bro. Ar!hie <hepp .n)and)!ountry blues-IBJ not so #u!h the blues as for# (<hepp and even Ayler .as $overned by !han$es in the .n@s re!ord ?Afternoon of a Geor$ia 0aun@ spe!ifi!ally invo2es the urbane (laude Debussy in .ere far #ore obviously blues and 1)F)B based players than Bro.n (!he!2 out Ayler@s ?Drud$ery@"" but the blues as feeling A the blues as a refle!tion of life.here the ?ja44 revolution@ . 5e al. And yet listen to the last tra!2 ?5o#e!o#in$@ on ?Why Hot@ . Born in Geor$ia he #oved to He. B.

Geor$ian 6ars Gotri!h notes in his online appre!iation of Bro.n “5e stayed in Geor$ia lon$ enou$h to see the (onfederate stars and bars added to the state fla$ at the hei$ht of dese$re$ationIQJ 6i2e its soul food Geor$ia's history is lush and !oo2ed do.ould subsequently translate itself into the #i#eti! .ith a state that only in the last de!ade re#oved the Di.ho've stru$$led . at.an al#ost se.ords A poeti! re!itation A and hu#an voi!es A .ie fro# its fla$.hen a fan !o#pared his playin$ to 1avel@s Sonatine& “Why don@t you tal2 about Du2e 7llin$ton and Bud .e return on!e #ore to Debussy A his lan$uorous ?6@AprWs)'idi d@un 0aune@ his portraits of the sea of sun2en !athedrals joyous islands A or the drea#s!ape of ?.the#selves into hip)hop !ulture #elded to #usi! derived fro# rural .n@s #usi!& thou$hts and feelin$s that are as #u!h tied to the .hat is to !o#e .ith those issues are proud still. +t's near i#possible to re!on!ile .planation (thou$h often Bro.ards that found in .allo.n yet brutal in its lu#berin$ .hose .o.ives@ tales #a$i! fol2lore rather than to. Bro. *ne #i$ht ar$ue that Bro. too dire!t a !orrelation bet. As (e!il %aylor re#ar2ed .a2e.ith ea!h other A sensations that !an@t be ?pinned do.eet@ barely suffi!es as a des!ription of %oo#er@s e.”I:J %he stor# is fi$ured as a flo.”IPJ %his !urious #i.orld of the 5olly.hispers si$hs A as an essential and sensual part of his #usi!".an overabundan!e of #etaphor and si#ile li2e the abundan!e of .here he is no.Xleas et 'Xlisande@ A not so #u!h fulfillin$ the 1o#anti! fad for ?pro$ra##e #usi!@ (.ater .n has a !o#paratively direct approa!h that Debussy la!2s but then a$ain it@s probably not all that helpful to dra.o.hi!h .een the t.as heavily influen!ed by the .ay into Bro.ood soundtra!2s" as evo2in$ a $eneral sense of pla!e (hen!e the fa!t that he !ould title pie!es of #usi! a non)visual art for# ?+#a$es@".n@ but rea!hed and evo2ed throu$h parado.er as a bleedin$ hu#an or ani#al and as a supernatural provider of food (li2e #anna fro# heaven".ed up into ne.eather to the soil (?roots@ #usi!" as they are to people and their relations .hi!h the !louds refresh the earth li2e the si#ultaneous upsur$e of feelin$s at the si$ht of its approa!h. And in an odd . #etaphor su$$estion.IOJ After all it@s not as if the #e#ory of the <outh just disappeared .ay those of us .ord ?bitters.eet 7arth 0lyin$@& “%hunder blosso#s $or$eously above our heads IQJ Bleedin$ rain G Drippin$ rain li2e $olden honey.here he has !o#e fro# and . 'usi! is the perfe!t vehi!le for this evo!ative illo$i! .ith its resour!e to the su$$estiveness of sound sound that does not need to be en!u#bered by dire!t e.ith .hat !a#e and .ersG Bitten by the sun” A that rea!hes to.riter /ean %oo#er and the .ell?”IE9J +nstead let@s tal2 about /ean %oo#er .n@s albu# ?<.n . +t is our herita$e yes.estern rationalist s!ientis#. Horthern urban for#s of Afri!an)A#eri!an popular #usi! A thin2 of the popularity of 1ay (harles sin$in$ ?Geor$ia on 'y 'ind@ in E:89.as si#ply s.quisite evo!ation of a stor# fro# the poe# that $ave its na#e to Bro.n uses . Bro.ture of drea#iness and pain sensuality and brutality finds its .ords .n@s #usi! #a2es full use of this diversity in order to refle!t on .ay into %oni 'orrison@s fi!tion and it finds its .ual sense of s2y and ripeness A “0ull)lipped flo.ards the 2ind of understandin$ found in #ytholo$ies !reation #yths old .or2son$s A and Bro.n@s ?Geor$ia %rilo$y@ ( fternoon of a Georgia #aun (E:O9" Geechee $ecollections (E:OK"% and Sweet &arth #lying (E:OL" A +@d also . 5ere . And it@s not si#ply a !ase of nostal$ia either& as fello.e have already quoted and briefly dis!ussed.

hi!h to han$ his #usi! and to $ive it so#e literary !lout.as initially just as !o##itted to .ith those of (hi!a$o@s Asso!iation for the Advan!e#ent of (reative 'usi!ians (AA('".here i#a$es !luster li2e $rapes buildin$ up in liquid $lobs at on!e sharply distin!t and ha4y subje!t to !han$e at any #o#ent li2e (a$ain the si#ile" the passin$ stor# loo#in$ openin$ overhead then passin$ on!e #ore.n said about the ne.instead he has a spe!ifi! set of intelle!tual !on!erns #any of .n@s %oo#er)inspired !o#positions and "ovem'er (otton #lower fro# the sa#e year" derives #u!h of its inspiration fro# the se#inal #odernist ?novel@ (ane a . Bro.in$ fro# a literary te.hi!h that level of abstra!tion bein$ en$a$ed in by bla!2 #usi!ians diver$ed fro# and !alled into question !ertain notions re$ardin$ bla!2 people@s relationship to abstra!tion the idea that bla!2 people if not in fa!t in!apable of abstra!tion tend to shy a.pression bypassin$ thou$ht in order to dire!tly a!!ess feelin$-IECJ here .s to several publi!ationsIEEJ".hi!h thou$h it has !o#e to be asso!iated ..”IEKJ Bro.hi!h overlap .perien!e also infor#ed his .or2 as a de!orous hoo2 on .ay as part of a theoreti!al intelle!tual !onsideration that en!o#passes the so!ial and the spiritual in a fairly dire!t #anner.ith feelin$s and #oods A all those subje!tive qualities .as in so#e .ell as his arti!ulate !o##entary on his o. A!!ordin$ to Hathaniel 'a!2ey “*ne of the thin$s that 'arion Bro.ay fro# it in the dire!tion of the i##ediate the physi!al the athleti! the perfor#ative. +n E:O9 Bro.n@s #usi! is very #u!h preo!!upied .ith little or no trainin$ or !o#positional a.here prose and poetry are not so #u!h ju.ere bothered by the #usi! and .t (Bill 5asson re!ites a se!tion fro# the boo2 on ?Gee!hee 1e!olle!tions@" refle!ts Bro.n@s use of (ane is several)fold& on the one hand its atmosphere is apt apposite si#ilar to that of his o.ell)intentioned in the latter !ase later !riti!s often put a ne$ative spin on the# and the ra!ial !onnotations .as a “runnin$ buddy” of the poet 6e1oi /ones appearin$ in a #inor role in the first produ!tion of /ones@ play ?Dut!h#an@ and !ontributin$ essays and re!ord revie.further#ore this at#osphere has very personal autobio$raphi!al resonan!es .ere patronisin$ and potentially har#ful.n@s intelle!tual bent (he .n isn@t si#ply usin$ %oo#er@s .or2 .taposed as #elted into ea!h other in a lan$uid evo!ation of the <outh that see#s to have stru!2 a !hord .ith a spe!ifi!ally ?7uropean@ sound in re!ent years .ho .ere bothered by the level of abstra!tion of the #usi! and the . While su!h ar$u#ents #ay have been .n and other@s #usi! helped to #iti$ate a$ainst the erroneous notion of the untutored ?He$ro@ playin$ purely fro# feelin$ .hose rural e.or2 (for instan!e the solo $uitar pie!e ?Bardsdale@" and a lar$e $roup session entitled ?Afternoon of a Geor$ia 0aun @ released on the then fled$lin$ label 7(' . %hus Bro.ith Bro.hi!h at on!e a!!ount for #usi!@s sensual and unique po. represented a ?pri#itive@ state preferable to the !yni!is# and ?sophisti!ation@ of nu!lear .ere rea!tin$ a$ainst it .in addition dra.ith AA(' #e#ber Wadada 6eo <#ith a #usi!ian .areness.ties is that he sensed that #any of the people .n Geor$ia !hildhood. White !riti!s often ar$ued (parti!ular in relation to the #usi! of *rnette (ole#an" that free ja44 .ay a ?pri#itive@ for# of e.in!lude Poems for Piano (E:O:" in .ith Bro.er and ris2 redu!in$ it to so#ethin$ ephe#eral and purely subje!tive A but it is preo!!upied .ith these in a thoughtful .hi!h A#ina (laudine 'yers plays Bro.hite A#eri!a.n@s e#ploy#ent of %oo#er as .n #usi!.ay in .e see the le$a!y of the Beats the notion that Afri!an)A#eri!ans and their #usi! so#eho.n's o.n up)brin$in$.n re!orded a series of duets .n@s o. Bro. #usi! of the si.

#usi!ians in .ton Bennie 'aupin (hi!2 (orea /eanne 6ee . %hus the #ain band of si.ed idea of the #usi!.ord itself . Bet.n. tunes@ for ju2ebo.o albu#s in the ?Geor$ia %rilo$y@ the vo!ali4ations of /eanne 6ee and Gayle .een voi!e and instru#ent bet. instru#entalists is supple#ented by a tea# of three ?assistants@ .ith lesser ability.n a fe.ere len$thy sounds!apes for .ho use various per!ussive devi!es and i#ple#ents so#e of the# invented by Bro.isted .al#orX do fun!tion as a 2ind of .peri#ental .peri#ental of Bro.ritin$s .or2 by A#eri!an artists (another i#portant early 7(' release is the Bennie 'aupin albu# ?%he /e. +nstead thin$s #i. Bro.s@ .n@s .een ?professional@ and ?a#ateur@ #usi!ians too& the se!ond pie!e ?Djinji@s (orner @ adapts a pra!ti!e fro# Ghanaian #usi! in . Mic!ael +ell1 Williams% 6A&ternoon o& a 'eor ia Faun7 -@BC>2 +t@s .on!e #ore that #er$in$ that su$$estive blurrin$ of boundaries bet.orth e.”IELJ Dialo$ue and the sounded voi!e turn out to be parti!ularly apposite on ?0aun@ A .or2s it is also one of the ri!hest in ter#s of its !on!eptual underpinnin$s.ithout ja44 but they !ould not be !onstrained by the .hi!h a !ore of s2illed #usi!ians is supple#ented by !o##unity #e#bers .rXlude a l@aprWs)#idiQ@".ith his fello.n re#e#bers havin$ . airplay& these .hi!h the ter# ?ja44@ see#ed out)dated.tre#ely rare".as dedi!ated to the albu# and published in E:OK (li2e ?1e!olle!tions@ a !olle!tion of Bro.as not si#ply ?#a2in$ a re!ord@ ?layin$ do.hi!h !riti!s and listeners sou$ht to use that label in order to enfor!e and !onstraint a !ertain fi. (yrille Anthony Bra. +ndeed an entire boo2 entitled ?Afternoon of a Geor$ia 0aun A Mie.ord by the label ?ja44@ or at least by the .s and 1evie.el in the 6otus@"".re!ordin$ e.in$ t. and #er$e li2e the ?ei$ht)hour dialo$ues@ Bro.n@s .ay in .n . %hey #i$ht not have e.ould not appear until Bill 5asson@s re!itations on the follo.a#inin$ ?0aun@ in depth& the #ost e.hi!h “stories $o in and out of ea!h other li2e Ba!h@s !ounterpoint.hi!h !a#e out in E:PL this is out)of)print and e. While Andre.ordless prelude to those re!itations (?.een spee!h and #usi!.hile the spo2en .

%his then is another #eanin$ of ?fol2 art@ A “by !onne!tin$ his physi!al s2ills as an i#proviser (that is his te!hnique" to his !ultural #e#ories and identity Ithe ja44 i#proviserJ asserts that i#provisation as the hei$ht of bla!2 #usi!al e.IEPJ . Whatever they #ay be it $oes to the #usi!ians !olle!tively. 1ather Bro. %he se!ond se!tion is after the rain.s anyone to !o##uni!ate and jointly parti!ipate in a #usi!al e.ersonal and !olle!tive #e#ories !an be dra.orts#outh <infonia and the <!rat!h *r!hestra initiated by British free i#provisers durin$ the 89s and O9s.ith a per!ussion se!tions that su$$ests raindrops A .orld of $hosts and spirits li2e A#os %utuola@s Doruba)inspired ?'y 6ife in the Bush of Ghosts@ here “told !olle!tively in the #usi!al first person. (*ne #i$ht also dete!t in the phrase ?after the rain@ a referen!e to the !o#position by /ohn (oltrane.n this is an affir#ation of the value of i#provisation as the equal of !o#position& unli2e !o#position it allo.hen he tal2s about “#utual !ooperation at a fol2 level ” the ?open@ approa!h finds ?avant)$arde@ #usi! !o#in$ to rese#ble a 2ind of i#a$ined fol2)#usi! very different in sound to the traditional fol2 #elodies heard in West Afri!a or Geor$ia or He.ho# are lon$)dead. 'etalli! sounds that su$$est li$ht.n hints ." 0urther#ore this is not si#ply a !ase of si#ple #i#esis of !reatin$ ?nature #usi!@ and ?s!ene)paintin$@ for de!orative effe!t. 0or Bro. Dor2 (ity .hi!h he des!ribed as “a tone poe#.hi!h one #i$ht !all personal #e#ory arises fro# in!idents re#e#bered fro# one@s o.ooden" even as he des!ribes sound in visual ter#s.”IE8J %he poeti! des!riptions of . 0ro# the liner notes& “Althou$h + a# responsible for initiatin$ the #usi! + ta2e no !redit for the results.n set out an initial stru!ture for the titular first pie!e .perien!es of other people is that .peri#ental proje!ts su!h as the .”IEBJ Honetheless the #usi! is not i#provised in a completely free #annerBro.perien!es and feelin$s in Geor$ia.perien!e.ordless syllables.een #usi! and the visual or pro$ra##ati! (li$ht is not really #etalli! (unless it refle!ts off a #etal surfa!e" and rain drops !annot be .perien!ed the latter .n as it is throu$h oral traditions throu$h stories and re#inis!en!es ori$inatin$ in the e.n@s Afri!an an!estry and to his #e#ories of everyday !hildhood e. 0urther#ore as Bro. %he !o#position be$ins .as re!orded but possessin$ a si#ilarly radi!al #eans of making.”IEOJ %hese ?$hosts@ are at on!e !onne!ted to the reli$ion traditions and .hi!h !an only be i#a$ined not dire!tly e.n further !o##ents that the openin$ ?raindrops@ se!tion su$$ests “feelin$s of loneliness in an i#a$inary forest of the #ind”.n sho.here the albu# .pression !onne!ts the artist to his people. +t depi!ts nature and the environ#ent in Atlanta.hi!h one #i$ht !all !olle!tive #e#ory passed do.ho #i$ht not even be !onsidered ?#usi!ians@ in the nor#al sense& a de#o!rati! if not !o##unisti! openness that anti!ipates e.and /a!2 Gre$$ and !an be !onsidered virtuoso pra!titioners of their respe!tive instru#ents here their soni! status is often the sa#e as that of perfor#ers .perien!e” of the .the for#er .ooden rain drops and #etalli! li$ht !ould have !o#e fro# %oo#er (or perhaps fro# <urrealis#" but they are not there si#ply as pretty or stri2in$ phrases.ays of seein$ of Bro.ooden rain drops.n to$ether throu$h physi!al #ove#ent and throu$h sound (“#ind and bodyQunified throu$h #e#ory and #us!le”IE:J" A just as the ja44 #usi!ian at on!e plays ?hi#self@ his unique and personal style and beyond hi#self by usin$ vo!abularies established by his forbears so#e of .”IC9J .areness of the unstable notions here at play hi$hli$htin$ the uneasy !orrelation bet.Bro.n life.a “first person e. %he vo!alists sin$ .s throu$h the# his a.

”ICLJ And this is the sense that one $ets throu$h #u!h of Bro.n !ollaborations .+f the title tra!2 of ?Geor$ia 0aun@ thus pla!es a !ertain e#phasis on the individual s2ill and ?te!hnique@ of the solo i#proviser (for instan!e durin$ (hi!2 (orea@s piano solo durin$ the se!ond se!tion of the pie!e" the se!ond side of the albu# evin!es a $enerally #ore !olle!tive approa!h A it is “stru!tured in su!h a .plored as they #i$ht be and !ertainly su$$est a !loser and #ore re!ipro!al relation bet.ere very definitely subordinated to the !o#poser@s .een ?stations@ and the parti!ular #ethod of handlin$ instru#ents be!o#es a 2ind of dan!e an i#provised e)change of physi!al obje!ts and positions as .”ICEJ +n Bro.as ena!ted not only throu$h the spe!ifi! !ase of usin$ non)#usi!ians on ?Afternoon of a Geor$ia 0aun@ but throu$h his attitude to #usi! in $eneral& “/a44 should be played in stadiu#s on baseball fields in the streetQ (hildren love the ne.pressin$ personal e#otional so!ial and !ultural needs.or2 and thus !onstitutes so#ethin$ of a #ilestone in his dis!o$raphy as .peri#ents and the 7uropean free i#provisation developin$ at this ti#e are not as often e. #usi!Q (hildren have the i#a$ination you need for the #usi! .ith #ore developed #eans of personal e.ould ar$ue the history of Afri!an)A#eri!an i#provised #usi! in $eneral.ithout ne$atively i#pa!tin$ on the quality of the #usi! parti!ipatin$ in a !olle!tive a!tivity in .”ICCJ +n the stru!tured i#provisations (?intuitive #usi!@" of =arlhein4 <to!2hausen individual players .een su!h ja44)derived e. %he parallels and !onne!tions bet. %he !o#position ends .ere re!orded in 7urope. phrase or to !ontinue developin$ a subsequent phrase.ay that e#phasi4es hu#an intera!tion and a sense of fun.n@s . %hose . %he players #ove fro# station to station playin$ their instru#ents as .hite and bla!2 7uropean and A#eri!an than #i$ht have been su$$ested by the ra!ial and !ultural rhetori! of the ti#e.or2in$ throu$h .fully !apable of . +n any !ase Bro.n@s .ell as of sounds.ords “ea!h #usi!ian has a station that !onsists of his pri#ary instru#ent se!ondary instru#ents and #is!ellaneous instru#ents.histle after .ith $reater s2ill .hi!h the #ove#ent bet.pression #ay ta2e the lead at !ertain points but the situation is totally different to that set up by <to!2hausen A a set of subordinated perfor#ers bendin$ to the .e play.ayQas to all but prevent the do#inan!e of any sin$le idea or of any one player.and Bro.hi!h the players return to their ori$inal station to !o#plete the !o#position.n@s re!orded le$a!y A a sense of possibility of openness a sense that #usi! is fully !apable of e. ‘Geor$ia 0aun@ #ar2s the only use of ?non)#usi!ians@ in Bro.een .n@s notion of a “sane so!iolo$y of !onte#porary #usi!”ICKJ .ith 7uropean #usi!ians (Gunter 5a#pel in parti!ular" provide just one instan!e of the #any #usi!al !onne!tions and !ross)fertili4ations that o!!urred durin$ this period.ith a blast fro# a .hat you li2e .ishes of a $reat $enius.ith it. After all #any of the #ost i#portant do!u#ents of E:89s and @O9s free ja44 . %he ?non) #usi!ians@ !an #a2e a !ontribution .you !an do .n@s o. 5e re#ains at the station for a #inute then $oes to another station to be$in a ne.ell as + .by !ontrast the ai# here is to a!hieve a !ertain $eneral effe!t or at#osphere but in a .ill.ell as other instru#ents.

F re!on!ilin$ !o#ple. +@ve never been to Afri!a you 2no.CB9 ICLJ 'arion Bro. 6ittle bits of #elody be!o#e footnotes to #y past...ed in the first issue of this #a$a4ine.nload)only fro# the 7<. *arion Brown+ a masterful musician." p. ICJ Ar!hie <hepp quoted in Bob 0laherty ?0riends 'ourn /a44 Great 'arion Bro. Notes IEJ (urrently available are ?'arion Bro.$a4ettenet.KP.ara!riti!al 5in$e& 7ssays %al2s Hotes +ntervie.ards.free)ja44.ith Greene released on . by 7d. re)issued on (D.E9L)EE9 I8J %he sa#e !ould be applied to the #usi! of the bla!2 !hur!h.een ?!ountry@ and ?!ity@ Horth and <outh in the develop#ent of the blues see /ones Blues People pp.. %hese instru#ents are #anifestations of so#ethin$ +@ve never really seen.netG bells)part)oneG#arion)bro..n@ available online at http&GG.art4" http&GGbells. !it. .orter (op. And yes it is hi$h ti#e for a re)assess#ent of his .n Vuartet@ (do.een the oral the visual and the !on!eptual.ned& /a44 'usi!ian 'arion Bro.E9B)8 IBJ 0or a #ore detailed dis!ussion of the interplay bet. IEBJ 'arion Bro.n 6iner Hotes to ?Afternoon of a Geor$ia 0aun@ (7(' 1e!ords E:OE" IE8J +bid IEOJ Vuoted in 7ri! .n and <on Djinji@ (Vi'e Hove#ber E::L" p. .a#ple /a#es 6in!oln (ollier ?%he 'a2in$ of /a44& A (o#prehensive 5istory@ (E:OP".5% in 6ollywood% #lorida% 1S .ent to (hur!h every <unday. of #y past !ulture." p..and ?6ive at the Woodsto!2 .!o#GC9E9GE9GCCGfriends)#ourn)ja44)$reat)#arion)bro. Born% Septem'er -% .n puts it “+@# !onstantly referrin$ to #y pastQWhen + . !it.orter (op.” (6inda %u!!i ?%he Artist in 'aine& (onversation .-th% 45. of #y past !ultureQ+@# !onstantly referrin$ to #y pastQ+@# li2e a #an . issues of $eo$raphy tradition F !olle!tivity.n)duetsG ICCJ Bro.erspe!tive in 'usi! Mol." ICKJ Vuoted in .or$Gblo$sGablo$supre#eGC9E9GE9GE:GEK988:LLPG#arion)bro.>niversity of Wis!onsin .n@ (http&GG.orter ?What is this thin$ !alled /a44? Afri!an A#eri!an #usi!ians as artists !riti!s and a!tivists@ (>niversity of (alifornia . !it.erennial (5arper (ollins" C99C (E:8K"" pp.n quoted in 6inda %u!!i (op.n +ntervie.n liner notes to ?Geor$ia 0aun@ (op.89)8K.ress E::P" p. E (<prin$ E:OK" pp." IOJ As Bro.npr.fully !apable of addressin$ the relations bet.orter 1e!ords earlier this year.een the abstra!t and the parti!ular bet. But throu$h listenin$ to their #usi! and readin$ +@ve be!o#e a part of their environ#ent.s@ ('adison."" IE:J ./0.as $ro.nG6eo <#ithG7lliot <!h.!o#pared to say (harles 'in$us Bro. of ?Duets@ (Bro.n is not obviously har2in$ ba!2 to su!h #usi! in his i#provisations. E Ho.orter ?What is this %hin$ !alled /a44?@ (op.” (Bro." IC9J +bid ICEJ 5enry =unt4 revie.CL8 IECJ <ee for e.or2.. Honetheless there are e!hoes re#inis!en!es feelin$s that su$$est this ba!2$round.n puts it he see2s to !onvey “a personal vie. +@# trans!ribin$ fro# one ti#e and pla!e to another.” (+bid" IPJ 6ars Gotri!h ?Geor$ia 1e!olle!tions& Goodbye 'arion Bro.?Bloo# in the (o##une@ a date released under Greene@s leadership and revie. As Bro.ardin$ F beautiful #anifestation of this tas2. IEKJ Hathaniel 'a!2ey ?+ntervie.n@ in %he Bla!2 . Dor2 (ity. Bro.n . + never really play bla!2 spirituals but + translate the# into #y #usi!.L8C IEEJ <ee 7ri! .orter ?What is this %hin$ (alled /a44?& @ p.)Dis2 .n" I:J /ean %oo#er ?<tor# 7ndin$@ in ?(ane@ (E:CK" IE9J Gary Giddins ?Misions of /a44@ (*.n IKJ <ee 7ri! (. in tlanta% Georgia% 1S 2 Died% 3cto'er .ith A.. (ourneau (/a44 'a$a4ine Ho.as not alone in dealin$ .in$ up in Atlanta Geor$ia + .CLO ILJ Vuoted in 6e1oi /ones Blues People (He. !it.al2in$ into the future ba!2.ford >niversity .ress C99B" p. CL: IEPJ “'y #usi! is a personal vie.ith 'arion Bro..ard 0oster@ in ?.ebsite"?Why Hot?@ a se!ond quartet re!ordin$ for the sa#e label no.CO: IELJ Gre$ %ate ?Bla!2)*. !it.ith su!h !on!erns but his art #ar2s a parti!ularly re.EKK E:88" .ress C99C" p.layhouse E:8B@ a re!ently dis!overed live perfor#an!e also .

tre#ely useful resour!e in the resear!h for this arti!le .npr.n@ (%he Bla!2 .ress C99B" 7ri! (.or$Gblo$sGablo$supre#eGC9E9GE9GE:GEK988:LLPG#arion)bro.erspe!tive in 'usi! Mol.$a4ettenet.n@ available online at http&GG.n and <on Djinji@ (Mibe Hove#ber E::L" 6inda %u!!i ?%he Artist in 'aine& (onversation .or$G#arionbro.n) duetsG" Hathaniel 'a!2ey +ntervie. E (<prin$ E:OK"" /ean %oo#er (ane (E:CK" Bob 0laherty ?0riends 'ourn /a44 Great 'arion Bro...n@ (available online at http&GG. by 7d.n +ntervie..orter 9hat is this thing called 7a88: frican merican musicians as artists% critics% and activists (>niversity of (alifornia .pie4oele2tri!.!o#GC9E9GE9GCCGfriends)#ourn)ja44)$reat) #arion)bro.. (ourneau (/a44 'a$a4ine Ho.art4 ?Duets@ (available online at http&GGbells.ith 'arion Bro.n Dis!o$raphy !o#piled by =arl)'i!hael <!hneider and available online at http&GGdis!o$.ress E::P" 6ars Gotri!h ?Geor$ia 1e!olle!tions& Goodbye 'arion Bro.as the 'arion Bro. by A.ress C99C" Gre$ %ate ?Bla!2)*.nG .n An e. Dor2 (ity.netGbells)part)oneG#arion)bro.e&erences      'arion Bro.n 6iner Hotes fternoon of a Georgia #aun (7(' E:O9" 'arion Bro.ford >niversity . of 'arion Bro.free)ja44. ..nG6eo <#ithG7lliot <!h. E Ho.EKK E:88" Gary Giddins Visions of 7a88 (*.erennial (5arper (ollins" C99C (E:8K"" 5enry =unt4 1evie.ard 0oster in Paracritical 6inge+ &ssays% Talks% "otes% Interviews (>niversity of Wis!onsin .ned& /a44 'usi!ian 'arion Bro..n"        6e1oi /ones (A#iri Bara2a" Blues People (He...

(Des it . .ider !anon? And not one of those that loo2 #ore interestin$ to our eyes today li2e the !lu#sy proto)Gustons and the hilarious proto)(ondos? (Well apart fro# the fa!t that our paintin$ has !o#e to loo2 li2e the $host of Andy Warhol?" %o the !onte#porary e. .onder.n by an artist bitin$ his ton$ue and they !arry no e.ill find The $ed Ga8e fro# E:E9 in a lot of #odern art pri#ers despite the fa!t that it@s a pretty bad paintin$.as that bad. <!h3nber$ hi#self said that in paintin$ he !ould e.Curated E/!i0ition T!at Is t!e 'aller1 o& T!eir .press his feelin$s dire!tly.(eter "r)t*mann and +eit! . %he superfi!ial ener$y of the $a4e lies solely in the #a2e)up.o#e: T!e Art o& t!e Improviser -as Witnessed in t!e Artist." Why has this pi!ture be!o#e a part of the .as a $ift& a !onsu##ate artist (as a !o#poser" and at the sa#e ti#e a sort of noble sava$e .pressionists <!h3nber$ . %hey have been !arefully dra. (<hould you feel in the #ood to !hallen$e that verdi!t& loo2 at the shape of the eyes.ecord Covers2 01 5ut* Eitel Arnold Sc!)n0er : The Red Gaze Intro As a painter Arnold <!h3nber$ .pression all.hi!h end of his brush to sha2e at a !anvas.as a one)hit ." 5e .hat <!h3nber$ !alled his ?visions@ .ere a!tually tryin$ too hard and he preferred the rather drab self)portraits of the !o#poser as a !ler2. Dou . =andins2y !alled it Hur#alerei A paintin$ only no ba$$a$e.ho didn@t 2no.as soon a!!epted as a full #e#ber of the artists $roup Der Blaue 1eiter althou$h =andins2y !a#e to thin2 that .

By E:E9 <!h3nber$@s #usi! had already $one throu$h its late)ro#anti!s and #oved into atonality. As a !o#poser he also ,as an autodida!t but he had proven his abilities. <till his #usi! re#ained !ontroversial and unfortunately didn@t brin$ in any #oney. <o after tryin$ his hand at paintin$ he thou$ht #aybe he !ould #a2e an easy bu!2 there. %he proble# ,ith his pi!tures isn@t so #u!h that they don@t adhere to the #usi!@s hi$h standards but that they i##ediately reveal the !o#poser@s !ultural upbrin$in$& they re#ain stu!2 in the E:th !entury. %hey follo, a ro#anti! tradition ,hi!h said that ideas ruled supre#e in art and e.e!ution ,as of se!ondary ne!essity or even a !o#pro#ise for!ed by profane !ir!u#stan!e. 7. %. A 5off#ann ,rote #arvellous prose about that ,as a #ildly !o#petent !o#poser and an a,ful painter. 6ater of !ourse ,e had Wa$ner and the Gesa#t2unst,er2 and then the quest for a synestheti! art to,ards the end of the E:th !entury. All of that histori!al ba$$a$e plays into the si$nifi!an!e of <!h3nber$@s paintin$ be!ause the #odernist #ove#ent that ,ould lead into both bla!2 squares and serialis# $re, out of these ideas and so it happens that <!h3nber$@s !rap pi!tures are nevertheless layered ,ith #eanin$. %hey are the very opposite of Hur#alerei. + use the e.a#ple of <!h3nber$ be!ause ,hen + no, dis!uss the visual ,or2 of t,o artists 2no,n for their $roundbrea2in$ i#provised #usi! +@# dealin$ ,ith a si#ilar situation. %he paintin$s and obje!ts that ;eter Br3t4#ann and =eith 1o,e !reate #ay loo2 li2e a footnote to the ?real@ ,or2 they see# to #erely fill in the art s!hool ba!2$round of both artists fa!ilitatin$ an as2e, outloo2 on #usi!al questions that led to innovations. Whi!h of !ourse is true. And it is also true that both #usi!ians did re!ord !overs they #ade i#a$es that si#ply pa!2a$ed the #usi!. (0or e.a#ple both painted pi!tures that in!luded all the #usi!al instru#ents involved in a $iven session ,hi!h is as traditional as you !an $et on a !over." <till #any of their visual ,or2s also !arry a lot of e.traneous histori!al ba$$a$e. %he artists ,ere born in E:LE and E:L9 respe!tively and both had their brea2throu$h in the #id)E:89s at a ti#e ,hen there ,ere open fields of !onta!t bet,een all arts and $enres ,hen it be!a#e feasible and politi!al do start doin$ your o,n thin$ havin$ your o,n label #a2in$ your o,n rules. (%his is not #eant as an advertise#ent for a $olden a$e thou$h in Ger#any it probably ,as that. What@s i#portant here is that artists ,ere not syste#ati!ally hindered by a pres!riptive use and re!eption of ea!h sin$le #ediu#. 5ell even Beuys and 1oth #ade re!ords. Althou$h quite fran2ly +@d rather loo2 at a <!h3nber$ paintin$." +t is probably not proper art history to allo, the #usi! as a resonan!e roo# that $ives #eanin$ to a visual ,or2 that is !urated by the artist for the $allery of his re!ord !overs. And ,e ,ill see that no a#ount of interpretation ,ill 2eep so#e of these i#a$es fro# #erely bein$ $ood pa!2a$in$ !rafts#anship !over desi$n. But so#e of these paintin$s ,ill still reverberate ,hen the #usi! has already be!o#e a va$ue #e#ory.

(eter "r)t*mann: A Simple ,u

ed ,i !tness

Br3t4#ann started out fro# an art s!hool in Wuppertal not an art !entre by any standard. <o it is a little surprisin$ ho, ,ell !onne!ted to the lar$er !onte#porary #ove#ents his early ,or2 fro# ,hen he ,as around C9 loo2s today. 0or his paintin$s and asse#bla$es he used besides traditional art #aterials a lot of si#ple stuff ,hi!h !ould be found in the street li2e pie!es of

#etal or ,ood. A ,or2 !alled ;andscape fro# E:B: ,as #ade fro# tar paper and earth and there@s a beautiful heaviness to both the rusty s2y and the fault lines in the stony $round. An untitled asse#bla$e fro# E:8K has a lar$e blo!2 of ,ood plated ,ith #etal s!raps and tin)!an lids li2e ar#ature $ift ribbons. %hese ,or2s ta2e their !ue fro# arte povera 1aus!henber$ Dieter 1oth and others but they have a very si#ple ru$$ed ri$htness and already spea2 ,ith a voi!e of their o,n.

(eter "r)t*mann: 5andscape

(eter "r)t*mann: Dntitled Assem0la e Wuppertal did in fa!t have a reno,ned $allery Galerie ;arnass ,here the artist $ot to 2no, so#e international avant)$arde art in the flesh. %o hi# the #ost i#portant event ,as #eetin$ Ha# /une ;ai2 and ,or2in$ as his assistant repairin$ the piano preparations for a perfor#an!e pie!e repeated every day for the duration of an e.hibition. %hrou$h ;ai2 Br3t4#ann !a#e in !onta!t ,ith Beuys and <to!2hausen and he be$an to ta2e part in 0lu.us)related events free) for)all happenin$s ,here a host of artists did their thin$ si#ultaneously and ,here a#on$ others he ,ould #eet fello, #usi!ians li2e 5an Bennin2.

<o#e,hen durin$ the #id)E:89s #usi! be!a#e the stron$er i#pulse partly be!ause Br3t4#ann preferred the lifestyle it offered& he li2ed the travellin$ (under ,hat ,ould be pretty pun2 !onditions" playin$ and all the thin$s that ,ere out there to be done even sound!he!2s as Br3t4#ann has des!ribed it in a nu#ber of intervie,s. (And that see#s to #a2e i##ediate sense still if you ,at!h the #an today& he doesn@t see# to #ind ,aitin$ he han$s around bein$ very there and serenely not ,astin$ ener$y before the ti#e !o#es to just do thin$s. (ue for a blast of sound." <till in the E:89s Br3t4#ann started ,or2in$ sound) or better noise) related obje!ts into his asse#bla$es that !ould be asso!iated ,ith the style of his #usi! A often per!eived as ,ild and violent A li2e earplu$s or later in a ,or2 fro# E:O: a s#all hand)!ran2ed siren. By then he had started #a2in$ s#all bo.es that ,ould ta2e their !ue fro# /oseph (ornell and also #aybe fro# Beuys. But they are a$ain #u!h si#pler obje!ts little rou$h display !ases one !an easily !arry around. As if a sa. player needed another bo. to !arry around.

(eter "r)t*mann: Siren %he !over of #uck de Boere $ives a tantali4in$ $li#pse of Br3t4#ann@s #ost a#bitious state of the art. %he desi$n is of a later date but the ,or2 is fro# the end of the E:89s. As far as + !an #a2e out it sho,s a fi$ure ,ith the painted papier)#Y!hX head of a pi$ (or is it a do$?" and its feet in a $unnysa!2 fastened to a ,ooden fra#e that ,or2s as a stret!her painted over ,ith ,hat in a bla!2)and) ,hite i#a$e ,e !an only assu#e #ust be a red !ross. %he ,hole thin$ is stood up in a door,ay. A$ain the referen!es appear& =ounellis blo!2ed door,ays li2e thatBeuys used the red !ross in several ,or2s of the #id)de!ade espe!ially in his Infiltration 6omogen series ,here he !lad #usi!al instru#ents in felt and stu!2 red !rosses on the#. (+ #ust stress that in all of this referen!in$ + do not $et a feelin$ Br3t4#ann is i##ediately !opyin$ anythin$ but that he spea2s ,ithin the lan$ua$e of the art ,orld he@s part of in a !onfident and personal if #aybe not innovative #anner."

Br3t4#ann had started his o.hibition in a private studio both to the so!ial upheavals of the ti#e in Ger#any and in the lar$er fra#e of thin$s (the title bein$ a quote fro# the dedi!atee of this #usi! <outh Afri!an bassist /ohnny Dyani" to the fi$ht a$ainst apartheidGra!is#.hi!h jud$in$ fro# the type.ould have been rather e.ritten sheet of paper han$in$ to the ri$ht .the boo2let doesn@t $ive a title only a rou$h date a year or t.pli!it A !o#pletely in the dar2.hat loo2s li2e an e.ith hand)sil2s!reened !overs later it $ot re)released by 0'.as a li#ited edition .ith E:8P@s !lassi! *achine Gun that Br3t4#ann started usin$ his o. 5e !hose to leave the ori$inal #eanin$ of the pie!e A .ho at that ti#e . %he title is derived fro# a ni!2na#e $iven to hi# by Don (herry . %hat debut re!ord had a si#ple photo of the artist on the !over. label in E:8:.(eter "r)t*mann: Fuck 4e "oere %he re!ord !over .as .n label in E:8O . %he ori$inal run on the Br3 label . %he title of the re!ord #uck de Boere $ives the i#a$e a politi!al intent and it !onne!ts the relatively !losed so!ial a!t of .o before the E:O9 re!ordin$.it ..as of !ourse #ade at a later date and to pla!e the .or2 on it .n art for the desi$n.as a !uratorial de!ision on Br3t4#ann@s part.ith #or dolphe Sa) before he !o)laun!hed the 0'.

hole outloo2 .ol2e . +t #a2es the #usi! literate.ithout.ho . %he re!ord title $ains its stren$th fro# an a!2no. releases but also for 7(' and festivals.ould also use found i#a$es and translate the# into hesitant purposefully !lu#sy lines i#itations of pop .ith a portrait photo of the #usi!ian so#eti#es .ith .ould then start to layer the i#a$e .een this ti#e and the E::9s are redu!ed to blo!2y letters so#eti#es . %he $unner on the ri$ht . %his re!ord !over throu$h its sense of self)a.ay fro# an e.ith a hu#an fa!tor.s in a ni!e oran$e red.pression of an$er and frustration (as .ol2e .ho ad#irin$ly loo2s over to the #ain #an pullin$ the tri$$er stands for us the audien!e harbourin$ a fan !rush.ord (?auto#ati! $un for fast !ontinuous firin$@" is a $raphi! fro# a year earlier ori$inally !alled Schie<schei'e (%ar$et" that in style is so#e.hi!h features a $raphi! s!ore that Br3t4#ann developed fro# an eva!uation plan for the !ase of an e#er$en!y.areness and throu$h the self)release as a pie!e of applied art #oves the #usi! a. %his approa!h of usin$ a !o#pletely unrelated i#a$e or notation for a #usi!al s!ore .ard e.n trade#ar2 typefa!e i#itations of . #usi!ians" and $ives it both an ironi! and a politi!al tou!h.e!ution #a2e larm a personal !ontribution to this artisti! !on!eit. (eter "r)t*mann: Mac!ine 'un While he never !o#pletely stopped produ!in$ fine art durin$ the E:O9s Br3t4#ann besides his #usi!al !areer be!a#e a very $ood $raphi! desi$ner doin$ posters and re!ord !overs not just for his o.n $lo.o #a!hine)$unners $o about their job of #o. 5e even developed his o. Whereas . .ho ta2es no hosta$es.as a staple of Ger#an radio produ!tions and had fro# the be$innin$ been supportive of Br3t4#ann .as heard at that ti#e even by fello. %he passion ..hi!h it often .as still lar$ely doubted.in$ the listener do.ould $o ba!2 to (a$e@s star !harts but a$ain the fittin$ness of the #etaphor the dire!t relation to the per!eived !ontent of his #usi!al lan$ua$e and the strai$htfor.n underta2in$s or 0'.led$e#ent of Br3t4#ann@s (still li#ited" publi! i#a$e as a player .hi!h these t.ant to si$nal $rassroots honesty to this day.ith !olour or patterns Br3t4#ann leaves his alone.hi!h you@ll find on Ger#an ja44 !overs that .hat re#inis!ent of <i$#ar .as still infor#ed by fine art ta!ti!s !an be seen on the !over to the E::E re!ordin$ larm .. 'any !overs bet.hen the youn$er #an@s #usi!ianship .. +llustratin$ a deadpan di!tionary definition of the . %hat Br3t4#ann@s .

ill turn up on Br3t4#ann@s !overs or in his titles (Die . to stress ho.ho# they !o#e + see# to sense so#ethin$ loo#in$ behind the pla!id surfa!e li2e in the be$innin$ of a horror #ovie . fro# an inner ne!essity and #u!h #ore interestin$ are the very si#ple strai$ht lands!apes li2e The Berkshires fro# C99B.ant to be ta2en at their tender fa!e value.here you !an e. lyri!al the old firebrand see#s to have be!o#e these days the .andscapes a C998 release .in$ fro# .or2 for . .ater!olours #i$ht .ater!olours fro# any <unday painter just learnin$ the #ediu# but 2no.ith the (hi!a$o %entet it is possible to read the shape risin$ fro# the lands!ape into the s2y as a #ushroo# !loud a . But just li2e it is a !riti!al !li!hX no. %hey . %here are ne.hat rea!hes us throu$h the re!ord !overs is #ostly .pe!t the idyll to shatter any #o#ent. *n merican . startlin$ly !onservative lands!ape .or2 on paper. %hen + don@t 2no. But for on!e the politi!al ele#ent does not see# to $ro.el!o#e su$$estion of the the#e of violen!e that .ike a DogU".hi!h you . While he also !reates lar$e)for#at paintin$s ..ould need a studio .ould be very avera$e lands!ape .ater!olours that al#ost see# to be !ast a$ainst type on purpose.(eter "r)t*mann: Alarm *ver the last de!ade Br3t4#ann@s art produ!tion has pi!2ed up a$ain.

The Damage Is Done fro# C99P sho.hi!h is very fet!hin$.hi!h feature a distin!t fi$ure he had already used for the !over of The Tri'e (aspar Br3t4#ann@s E:PP albu# (.aters of a flood #outh $apin$ in surprised protest but instin!tively ta2in$ to the disaster li2e a fish to the .ith a !o#i! strip sensibility .ood!ut of the 7aster +sland statuesori$inally they . %hese fi$ures loo2 a little li2e early 5orst Antes doin$ an e. (eter "r)t*mann: T!e 4ama e Is 4one .here it see#ed to hold #u!h #ore #ystery than his son@s patient tabulator #ath ro!2".(eter "r)t*mann: T!e "erks!ires 'aybe the #ost interestin$ develop#ent is in Br3t4#ann@s .ith it" a ho#e that sees houses driftin$ off in the ba!2$round.s one of the# in the .ere dar2 pri#eval fi$ures a dire!tly i!ono$raphi! ta2e on the ra.ood!uts #any of .ater. and pri#itive that Br3t4#ann has else.here avoided.pressionist . live . But today they !o#e suffused . Another topi! of destru!tion or violen!e A here the .asteland see#s to have be!o#e a natural state (the da#a$e is done no.

e is a very different artist fro# .they !annot si#ply pi!2 up on the ener$y and fly.ho visited the sa#e paintin$ !lass that .o#e: Connotation Overkill While =eith 1o.es and they@re so#e of his stron$est .ly#outh. <tripes.hen he .ith later refle!tions on his for#ative period.hat you .ay .e .ostbo.as uniquely #ine but .as #a2in$ the 2ind of paintin$s .as still tryin$ to e#ulate A#eri!an ja44 #asters and the lesson he too2 a.ell to travellin$ findin$ thin$s doin$ stuff.or2 fro# Br3t4#ann .ould have to e#ulate the $ravitas and utter sense of purpose that !o#es . for Paris Transatlantic the artist has told about his a#bitions at a ti#e . red. %his ..ay fro# the aestheti!s of taste and fro# .orth@s. %hey the#ati!ally relate espe!ially .or2ed on hardboard usin$ house paint fro# Wool.ould help ta2e hi# to other pla!es.n.@ +f .as late E:B9s early E:89s.n voi!e& ?+ abandoned the !anvas and .eter Br3t4#ann they both started under strate$i!ally !o#parable situations. %ryin$ to $et a.ith the $uitar + .as just slavishly !opyin$ A#eri!an $uitar players.ere uniquely #ine in a . A$ainst the# as already #entioned there are the lar$e paintin$s.hat provin!ial art s!hool that he .ide +eit! .e .ith the #usi!. fast for.ould prove !ru!ial& ?+n the paintin$ !lass + . %hey don@t brin$ the ba$$a$e so they .hi!h .as born a year earlier in E:L9 and the so#e.ere supposed to do.as both edu!ated in quasi)a!ade#i! paintin$ and en!oura$ed to find his o.ay fro# art s!hool .hi!h they still are today + $uess. +n a C99E intervie.or2.e have a rather i#pressive !olle!tion of early .@ +n #usi! he .ith 1o.ould do for the debut re!ord of the i#provisation $roup he !o)founded ***usic fro# E:88 this is hard to re!on!ile sin!e that i#a$e also see#s derived fro# distin!tly A#eri!an sour!es. %here he stru!2 up a friendship .ho + . While .ith future bandleader 'i2e Westbroo2 .e no.ent to stood in . %hey #ay . +n the end #y paintin$s !a#e do. . <ee "ight $ide fro# C99B. 1o. +t doesn@t help or hinder that they@ve been #ade by a $reat #usi!ian.Br3t4#ann still #a2es bo.or2s have to stand on their o.e .as findin$ out .. *ne . 'any stylisti! traits !ould be found in the art of 1oy 6i!htenstein. (eter "r)t*mann: Ni !t .ard to the !over paintin$ 1o.e have to #a2e do . %hese 2eep in #etal and earth !olours #ostly dar2 planes that so#eti#es !oales!e into $eo#etri!al or sort of !artoon)li2e for#s.hi!h .n to about three !olours .ell loo2 li2e Br3t4#ann@s <!h3nber$ paintin$s A but these .

ith 6i!htenstein@s.pe!ted to turn over lar$e quantities". +t is a very upbeat paintin$ and it sort of reads the pop a$enda ba!2.ould not be e.ould enjoy life in the sunset play stadiu# sho.e .ist sin!e the #usi! ..e li2e #any a desi$ner of the ti#e is re)appropriatin$ the style for !o##er!ial produ!t (. Also if 1o.as follo.t renderin$ it #ore #eanin$ful but useless 1o. thin2 of it as ?hittin$ the $round runnin$@& a bi$ ebullient tour tru!2 $oin$ strai$ht to 'editerranean pla!es .e@s C99C re!ord .$.ith a fittin$ly ironi! t.ould have been !on!urrent .here A'' .ith (hristian 0ennes4.o#e: AMM Music . + so#eho.1 .in$ that develop#ent sin!e the end of the E:B9s it ." Be that as it #ay it does not see# the point of the pi!ture to e.s li2e the bi$ ro!2 a!ts of the day and probably sell lots of #er!handise.ive at the .e an obvious tip of the hat !an e.ards. %he i#a$e on the !over spea2s i##ediately.press a uniquely individual artisti! voi!e but rather to use a popular pi!torial lan$ua$e .e #a2es no atte#pt to render his i#a$e i!oni!. +eit! . Where pop had ta2en the !o##er!ial i#a$e out of its !onte.hi!h #a2es for $ood !o##uni!ation.ouldn@t !all it a slavish !opy sin!e the stron$ dia$onal is !o#pletely unli2e the A#eri!an painter there@s #ore individuality to the line and 1o. (While 6i!htenstein is not a#on$ the artists #ost #entioned by 1o. be found in a referen!e to 6i!htenstein@s Brushstrokes fro# the #id)E:89s that is !entral to the !over of 1o.

as one of the tools 1o.onder ho.ollo!2@s .e .ith an obje!t that should be stati! or #aybe re!eive not even that sin!e the e#pty spee!h bubble !o#in$ fro# the transistor radio indi!ates silen!e.e started to use at the ti#e his #ain instru#ent bein$ a $uitar laid flat on a table.o#e: T!e Cr1pt . %he radio . %he !o#position shares the tru!2@s for. + dire!tly applied the pro!esses of the visual arts to this ele!tri! instru#ent& .hite !anvas an obje!t to stare at and i#a$ine& What !an + do .ould sound.as on Geor$e Braque@s $uitars. %his #usi!al pra!ti!e . they . 1e$ardin$ playin$ as paintin$ offered al#ost i##ediately a ne.ard thrust thou$h . 1o.hi!h . %he sense of liberation that e#er$ed fro# deta!hin$ #y $rip on the instru#ent and abandonin$ its !onventional te!hnique .as later used for the release of a E:8P !on!ert under the title The (rypt sho.1aus!henber$@s .ith this thin$? +t helped to loo2 at !ubist i#a$es of $uitars and .s ho.@ +eit! .ers to play it. 'y dissertation . 1o. lan$ua$e for the instru#ent.hen layin$ the $uitar flat on its ba!2 and intera!tin$ .as repeatin$ for#al !on!erns.hen inte$ratin$ a radio.e re#e#bers the !reative brea2throu$h in a C9E9 !onversation .traordinary.ould appear #u!h #ore radi!al than this i#a$ery and interestin$ly in its pro!ess #u!h #ore infor#ed by the history of visual art.A poster fro# the sa#e era .ith sin$er David <ylvian for Bom' #a$a4ine& ?+n the #id)E:89s + re$arded the ele!tri! $uitar as an e#pty .ith its surfa!eDu!ha#p@s by usin$ found obje!ts su!h as 2nives fa!e fans and !o!2tail #i.as e.

e filled his $uitar table .hi!h are so !entral to his #usi!al pra!ti!e !annot be found in 1o. %his rather see#s to har2en ba!2 to the old $olden days on the 1iviera.ho used a #u!h s#aller a#plitude of bodily #ove#ent than to the no less deep but al.or2 of the 0ren!h#an .ay see the !onne!tion of the title to a table ." %hese artisti! !on!epts . Whereas the !artoon !ulture is a !ulture of adoption assi#ilation universality." E::B@s #rom a Strange Place features a very literal translation of the na#e of the re!ordin$ venue %he 7$$ 0ar# that !ould al#ost be an outta2e fro# a brainstor# for Genesis@ "ursery (ryme !over. 'u!h of it . 'ost of all thou$h playin$ be!a#e a $estural a!t in .el!o#e differen!e bein$ that there . <pea2in$ of a #u!h later !over paintin$ for the C999 (D 6arsh he tells Paris Transatlantic& ?+t !ounters .ould !arry i!ono$raphi!al or psy!holo$i!al #eanin$.ine on the bea!h.hile he still desi$ned several !overs (never to the e. <o#eti#es + find 1o.ollo!2.ollo!2 re$ardin$ $esture. With those he #odelled pi!tures of the heads of prisoners shot by the Ha4i o!!upyin$ for!es in 0ran!e. When they do return on the A'' !overs li2e for the #arvellously titled The "ameless 1ncarved Block fro# E::9 they are in a soft and fu44y illustration style that is va$uely disappointin$.e@s early pop i#a$es of the E:89s and .ith a palette 2nife. (+ don@t by the .as the#ati!& 1o.e@s perspe!tive on !onte#porary art is #ostly on the A#eri!ans and on .ith sound)#a2in$ obje!ts that he !ould !hoose for reasons outside of their #usi!al properties.hat +@# involved in #usi!ally .@ After 1o.as no !o##odity !reated throu$h the a!t but a sound that i##ediately vanished in ti#e.tent that Br3t4#ann had !o#e to be a desi$ner" there is a trans#ission brea2 for his paintin$s. (1o.e@s approa!h !loser to the !on!entrated .6yin$ the $uitar flat be!a#e a !ru!ial a!t of liberation fro# the bodily aspe!t of the instru#ent (if not the #ost phalli! then surely the #ost #asturbatory of the# all" and it offered li#itless possibilities.eepin$ $estures of .e@s paintin$s.hi!h is a #usi! of non)adoption.hi!h the de!ision)#a2in$ . <till let #e add that in 0ran!e in the early E:L9s /ean 0autrier also laid his !anvas on a table or the floor so he !ould build thi!2 hautes p=tes of plaster paint .as !lose to visual art produ!tion A the #ain and .o#e: From a Stran e (lace . +eit! .ith a $lass of .they .ays s.

We too2 responsibility for that hen!e the i#a$e.e never found the appropriate player.e@s paintin$s see#s to have a #eanin$ .ed throu$h a va$ina the apolo$y .as a lan$ua$e no outsider !ould read but !o##uni!ation ./4B@ is the very pre!ise title of the !over paintin$ and it see#s li2e a deliberate ta2in$)up of a lan$ua$e abandoned t.e felt .A''@s apolo$y to .ith 'oon >.ould #a2e up 2no.e $et into that here is a vain atte#pt to 2eep thin$s in perspe!tive a re#ar2 fro# E: <epte#ber C99: that 1o.here the hardly de!ipherable !ontent of all the sy#boli! pi!torial ele#ents to$ether ./??@ with reference to Georgia 3’Aeeffe% He. is the !olour of A'' various yello.ith referen!e (as +@# sure it .led$e transferrable throu$h aestheti! #eans.as referrin$ the fa!t no .hi!h announ!es a return to for# . Before . llentown viewed from the ** yellow truck >&lektra .s are used to indi!ate the differin$ aspe!ts of the $roup@s #usi!..o#e: Allento#n vie#ed &rom t!e AMM 1ello# truck -Elektra @BEE2 #it! re&erence to 'eor ia O7+ee&&e% New York with Moon (1925) Where every shade of a !olour and every for# is attributed a spe!ifi! #eanin$ (and just loo2 at the re!urrent !louds in Strange Place and llentown +@# sure they@re tryin$ to tell #e so#ethin$" .as earlier and it@s just that the do!u#entation has be!o#e #ore thorou$h" and .ith an added understandin$ of ho.” +eit! .. ZDello. +t . 0ro# no.o#en the yello.e posted on the internet foru# + 5ate 'usi! in rea!tion to a !o##ent pointin$ out the referen!e of the llentown !over to the *@=eefe paintin$& “Des it@s also.%he !over .Z phalli! stru!ture vie. *bviously .hile every pi!torial ele#ent in 1o. on 1o..as hardly the point.as in!orre!t but .ill appear positively loaded .e are #ostly dependent on the artist . Dor2 .o#en had been part of A'' so#ethin$ ..ive in llentown 1S had already !o#e out a year earlier.e approa!h the territory of say the renaissan!e her#eti! tradition .enty years earlier .ill offer pure deliriu# to the brave i!ono$rapher. to use the !o#i!s #ediu# as a #essa$e board.e@s pro!ess .

the death of %ilbury@s #other t.e@re are no.ry the !o#position .s us and run. $o into the !over for the land#ar2 release Duos for Doris . <.e published on the produ!t pa$e of the re!ord@s label 7rst.hose Dragonfly and . While the bo.it into the .ith the requisite #indfra#e it@s plain fun to no.hatever that a!tually #eans for us or the (D publi!ation it $ra!es. further ba!2 into the .ear quote 6o.as in ho#a$e to 6.orld by heavy iron bars.e@s paintin$ tutor ba!2 in .ly#outh . 6o. 1o.as not on his #ind .ry a painter of British life . %he label blurb adds that the !over paintin$ .o#e: A :ie# &rom t!e Windo# 7quipped . We !an easily ta2e the bone he thro.an %au and his #a$i!al hat. he prepared hi#self for the duo thin2in$ about the history of 4ero (a#on$ other thin$s" and ho. +eit! .e in his notes to the re!ord states& “Sero@s history re#inds #e of the history of silen!e. And as 1o.ler hat and foot...hile. 6oo2 at 1o.” <o !an this be a !oin!iden!e? .plained here by 1o.ith A.egs .as a favourite of %ilbury@s #other. %his is a re!ord that has notes by 1o.ith /ohn %ilbury fro# C99K.ould be a possible point of !onne!tion. Whi!h is not to say that the $ender dis!ourse e. *n a !o#pletely subje!tive layer the bo..e@s C99L release View from the 9indow . and le$s dan$lin$ into the paintin$ fro# above rather see#s to be in ho#a$e to Ben 5artley 1o.e .ler and levitation #ade #e thin2 of (4e!h fantasy fi$ure . .e hear fro# the quote above the artist unfortunately has a sense of hu#our.el D3rner and 0ran4 5aut4in$er& quite !learly .hen he painted the pi!ture.an %au doesn@t spea2 he #oves throu$h the noisy .ith barely a hat belo.o days before the session !oloured pro!eedin$s.o#b and denied e.ho .orld in !o#plete silen!e.for a 2ey and as .e tells us ho.

+eit! .artle1: 4ra on&l1 and 5e s .o#e: 4uos &or 4oris "en .

While so#e of 1o,e@s paintin$s have been e.hibited his #ost obvious venture into art ,orld proper ,ould be a parti!ipation in the C998 e.hibition De'ris #ield at Bolton 'useu# and Art Gallery. 1o,e tal2s about that in an intervie, on the radio pro$ra##e udition fro# EL 'ay C998. 5e had #ade three re!onstru!tions of histori!al $uitar tables fro# the E:89s to the E::9s buildin$ the# in a rather $eneri! fashion so they ,ould represent so#ethin$ typi!al of the ti#es they represent. 5e fi.ed $uitars and all applian!es and $i4#os to the boards and hun$ the# on the ,all. When you listen to the artist des!ribin$ the i#pli!ations of his ,or2 the detail of refle!tion is quite fas!inatin$. 7very $uitar e#bodies the artist@s outloo2 of the ti#es every tool he uses to tou!h or !ir!u#vent tou!hin$ the $uitar brin$s its o,n set of !onnotations and every !able of the ,irin$ #a2es its o,n psy!holo$i!al !onne!tions. %he table arran$e#ents do not follo, the lo$i! of buildin$ an instru#ent rather everythin$ is !hosen for !onnotations or even aestheti!s. %he a!t of han$in$ the tables on the ,alls to 1o,e is the !losure of a !ir!le ,hi!h be$an ,hen he first laid a $uitar flat on its ba!2. +t is i#portant that these tables are re!onstru!tions not histori!al do!u#ents so the ,or2 spea2s of #e#ory as 1o,e intends...but still #aybe the art !onte.t is so #u!h #ore over)deter#ined than even a !o#plete !hart of all !onnotations ,ithin the ,or2s !ould ever be- ,ithout ever havin$ seen the pie!es + i#a$ine that sub#ittin$ the# to a situation ,here they have no !hoi!e but be self)suffi!ient ,or2s of art #i$ht do the# #ore har# than $ood. 6et #e quote the only revie, + found online fro# one =ay (arson& ?'usi!ian =eith 1o,e@s Guitar $etrospective is a deli$htful pie!e desi$ned to brin$ a ,istful nostal$i! s#ile to the lips. 7a!h of his three old instru#ents !o#es ,ith its o,n s!attered entoura$e providin$ a so!ial !o##entary of the era... %his is a quir2y and tou!hin$ ho#a$e to his beloved dis!ipline.@ %hat@s (unintentionally" harsh but not !o#pletely unfair and espe!ially the fa!t that one !ould listen to sound sa#ples fro# the respe!tive eras on headphones #ust have $iven this a tou!h of an eai hall of fa#e display.

+eit! ,o#e: 'uitar ,etrospective

1o,e@s C99O re!ord The $oom is part of a lon$ on$oin$ proje!t that has ta2en 1o,e #any years to reali4e. %he title indi!ates the heart of his !on!ept. The $oom is not just about spa!es or #ore spe!ifi!ally a spa!e of perfor#an!e but also about the a!t of listenin$ itself. +n his udition intervie, 1o,e e.plains ho, it !an be i#portant to not listen in a #usi!al situation a !entral aspe!t of his pra!ti!e& ?Hot bein$ afraid...not bein$ do$#ati!. (hallen$e the overe#phasis of ,hat listenin$ is about. What does it #ean? 6istenin$ !an stop you fro# bein$ in the roo#. Hot listenin$ in order to be in that pla!e at that ti#e.@ All the i#pli!ations of this strate$y ,ould lead too far fro# a dis!ussion of the paintin$ on the re!ord !over- but it is interestin$ to 2eep in #ind that 1o,e #ade the re!ordin$s at ho#e in his o,n roo# over a ti#e and that althou$h he has en$a$ed ,ith the proje!t for #any years the resultin$ tra!2s sound !o#pletely in the #o#ent and allo, for obviously spontaneous a!!idents.

+eit! ,o#e: T!e ,oom FE/terior (aintin G %he !over paintin$ is not a!tually a square but a lands!ape for#at that $oes around the flaps of the di$ipa!2 !ontinually over three panels. +t sho,s a blue area on top of a $reen area separated by a bla!2 line. %his by the ,ay is definitely paintin$ not illustration the surfa!e treat#ent the brushstro2es... 1o,e@s ,or2 has be!o#e #ore painterly over the years and ,hile the fi$urative aspe!ts are still rooted in a !o#i!s tradition 1o,e does no, #aterially en$a$e ,ith his art)histori!al inspirations in the sa#e #ediu#. <o there are t,o obvious fields of referen!e& one to !olourfield paintin$ and then the fi$urative readin$ of the !o#position as a s2y over a la,n. %he re!ord is titled The $oom of !ourse so the bla!2 line #i$ht also stand for the ed$e of a $reen !arpet a$ainst a ,all. %hat ,ould see# a rather opti#isti! i#a$e the roo# as the $reat outdoors ,alls ta2en do,n to offer li#itless possibilities ,here to $o fro# here. (<in!e the spa!e is e#pty and the !olours are lustreless the feel of the ,hole is not really too

happy." %he possibilities that have been reali4ed fro# ,ithin the roo# ,ould be fleshed out ,hen listenin$ to the #usi! and it@s funny that the visual abstra!tion of the !over should $ain a #ore !on!rete #eanin$ throu$h the ?#ost abstra!t@ of arts #usi! (the !ondition of ,hi!h all other arts are supposed to aspire to". + a# relu!tant to ta2e all of this any further be!ause + a# a,are that 1o,e has ,ritten e.tensive notes for The $oom ,here every aspe!t and detail of both re!ordin$ and paintin$ ,ould presu#ably be dis!ussed and ,hile + believe that an artist@s intentions or after)the)fa!t e.planations are not !on$ruent ,ith his ,or2 still the publi!ation of these notes ,ould render any other thou$hts i##ediately obsolete. +f they are in fa!t published. A!tually + have a suspi!ion that the e.isten!e of the notes itself is a referen!e to Du!ha#p ,ho had ,ritten !opious stuff on his so)!alled ;arge Glass (E:EBAE:CK" ,hi!h he published in a felt)!overed !ardboard bo. in E:KL. 0or a lon$ ti#e it ,as the holy $rail of #odernist i!ono$raphy to tear every li#b fro# the bride and her ba!helors ,hile today the Green Bo) is read #ore as a post#odern distan!in$ a!t fro# all atte#pts at interpretation. 6i2e,ise the notes to The $oom !ould no doubt entertain a roo#ful of e.e$etes for de!ades to !o#e. +f you ,ant a taste of that read 1o,e@s notes on his 7rstlive 99O live re!ordin$ ,hi!h have been published on the &rstwords blo$ A here every sin$le #usi!al event be!o#es frau$ht ,ith #eanin$ (and you@ll find t,o referen!es to 'ar!el Du!ha#p". %hese notes offer ri!h !onnotation over2ill and li2e Du!ha#p@s Green Bo) they are a ,or2 of art in their o,n ri$ht ,ith a very different effe!t on our per!eption pro!ess fro# the a!t of listenin$ to the #usi! itself. +n a post on + 5ate 'usi! fro# K 0ebruary C99: 1o,e not only #entions Du!ha#p and e.plains his fas!ination ,ith this sort of deter#inedness of every detail but also alludes to a deeper layer. 5e dra,s the !onne!tion to his previous solo re!ord the afore#entioned 6arsh& ?;erhaps one #i$ht see a the#e runnin$ throu$h 6arsh ,hi!h ,as about the invisibility of harshness (se,n into our jeans trainers t)shirts et! %M qui4 sho, !olours..." The $oom (tra!es and ,hispers of pro!ess are overta2en by blan2ness and silen!e in these spa!es i#portant transa!tions ta2e pla!e absorption of a sin$le #ood a !onte#plative aura"... 'y inspiration for dis$uise is of !ourse alon$ ,ith Du!ha#p is 1oth2o to ,hat e.tent do the <ea$ra# 'urals lea2 infor#ation about the 6aurentian library in 0loren!e and 'i!helan$elo?@ When you open a physi!al !opy of The $oom you $et a paintin$ on the inside ,hi!h follo,s the sa#e si#ple !o#position also stret!hed over three panels. %he !olours here are ta2en strai$ht fro# 1oth2o@s <ea$ra# 'urals A an un!o#fortable red ,ith #ore violet overtones in the $round area. +f that@s the inside of the roo# it is not an easy pla!e to be in... 1o,e@s notes and intervie,s are #ostly about the intelle!tual foundations of his ,or2 they pla!e hi# ,ithin an art)histori!al dis!ourse and they #a2e !lear the (so#eti#es quite radi!al" leftfield politi!al !onvi!tions behind his #usi!...but only seldo# do they address the e#otional level ,hi!h on purely aural eviden!e ,ould see# to be both at the !ore and the i##ediate surfa!e of his #usi!. +t is #usi! that !an be e#otionally drainin$ to listen to. %hat e#otional aspe!t here shines forth fro# a !over art that is no lon$er about assi#ilation and universality li2e the earlier pop i#a$ery but #u!h #ore ?the absorption of a sin$le #ood@.

ould auto#ati!ally postulate $enerali4ations on artist)#usi!ians that + . +s it do. A'' #e#ber (ornelius (arde.eter Br3t4#ann and =eith 1o.+eit! .hat@s .e has invested in #ore than any other perfor#er".ant to for!e a !on!lusion .hi!h + fear .ay + listen to his #usi! althou$h + li2e both (.a!tly bet.hi!h have already appeared (. But + really don@t .o" does not !olour the .or2 by !o#poser and fello. Broadly painted one .a#ple loo2in$ at a Don van Mliet paintin$ (he .a#ple a shared interest in the !o#positional potential .ith the styli4ed lands!apes and the sin$le !louds?" and add so#e ne. that probably 1o.e have seen the $raphi! Br3t4#ann s!ore .oom FInterior (aintin G Outro While the !areers of .rap thin$s up point out the #ostly the#ati! si#ilarities .een the t.ould be the #an of deeds and the other thrive purely on thou$ht.e have not yet #entioned that the bla!2 line in the !over of The $oom also .e have partly overlappin$ ti#elines their artisti! pra!ti!es see# al#ost dia#etri!ally opposed. to .ouldn@t #yself subs!ribe to. + !ould no.ithin free i#provisation (.o#e: T!e .ould stand for the !entral line in the $raphi! s!ore Treatise a .ell so#e of the .n to taste? 'aybe it@s interestin$ that for e. for e.as born early in E:LE e.

paintin$s". Vuite possibly there is a !onne!tion bet.or2 that + just don@t see but + suspe!t he really !o#es !loser to Hur#alerei than the three artists +@ve dis!ussed here.een the t.ith su$$estions. Do . Dou@d just have to find the ri$ht #usi! for it.ould surely #a2e a $reat re!ord !over. Well he !ould have been a !ontender. 6oo2 at this Ga8e also fro# around E:E9.o #edia in his . Whi!h leads us ba!2 to hopeless <!h3nber$. Arnold Sc!)n0er : Gaze (eter "r)t*mann practisin poses &or a "lue Note cover% Moers =?@? .rite in . +t .

e see (and hear" hi# in a ..youtube.tent as . +ndeed he .or2ed .3 S(ECIA5 +n ?%he Autobio$raphy of 6e1oi /ones@ A#iri Bara2a re#e#bers ho.in$ his return fro# a period in .ho had played .n@. (herry and dru##er Billy 5i$$ins are the (ole#an side#en here for#in$ half of 1ollins@ $roup.!o#G.E.aul (ha#bers early in the perfor#an!e.ith #usi!ians .ay 1undo.ith firebrand tenor sa.ith a style that did not e.. H 4ON C.the other #usi!ian is 5enry Gri#es not often seen in video foota$e and ta2in$ a bo.pli!itly !ross over into free ja44 territory but .hi!h he te#porarily !eased publi! perfor#an!e in order to ponder the innovations of /ohn (oltrane and *rnette (ole#an and their i#pli!ations for ja44 in $eneral 1ollins !a#e ba!2 .ith both (ole#an and (oltrane yieldin$ a !ouple of re!ordin$s .youtube.ed solo so#e.at!h?v[SO$)D27NC4V 0ollo..ollins Iuartet @BEJ http&GG.D A de!ade@s hiatus (in ter#s of foota$e but not of perfor#an!e A (herry had re!orded .haroah <anders and Gato Barbieri in the interi#" sees us leapin$ for.at!h?v[%>+$M442:.hat re#inis!ent of .ould announ!e his arrival by playin$ so !lear it bro2e throu$h the traffi! noise... “the tru#peter Don (herry .ts. 4on C!err1< Ko!nn1 41ani < Oka1 Temi* H Frenc! T:% @BL@ http&GG.ide ran$e of !onte.hi!h nonetheless absorbed a looser and freer approa!h. %here doesn@t appear to be any foota$e of the ele!trifyin$ playin$ .hi!h #ade his na#e durin$ his parti!ipation in *rnette (ole#an@s early @89s $roups and so a perfor#an!e ..ophonists .ith <onny 1ollins opens this survey of (herry %M broad!asts spannin$ a $ood thirty years.ard to E:OE and do!u#entation of a !o#plete !on!ert by the trio that re!orded ?Blue 6a2e@ and ?*rient@.3ODTD"E WATC.” *f !ourse as Bara2a pointed out in relation to Albert Ayler that quality !an never quite be !aptured on re!ord only e.!o#G.. %his parti!ular o!!asion . Sonn1 .hi!h so#e have re!2oned his finest& ?*ur 'an in /a44@ and ?7ast Broad.perien!ed as so#ethin$ live in the flesh but (herry@s unique sound nonetheless #ana$es to !o#e a!ross to a satisfa!tory e.

as!ied Ali http&GG. %hrou$hout the set (herry plays as #u!h piano as po!2et) tru#pet and thin$s pro!eed leisurely throu$h a series of va#ps riffs and #elodies (often .n the 2eys to produ!e tin2lin$ !hi#in$ sounds then qui!2ly #a2es his .ith a re!itation by Dyani soon joined by a shaven)headed (herry on flute and %e#i4 on hand)per!ussion..ith *rnette fro# #ore than ten years earlier that #usi! so parti!ularly !onne!ted to the #outh to the lun$s to the $ut. <o#ethin$ of the at#osphere of the o!!asion !an be dedu!ed fro# the .at!h?v[8<:eG0*!B7D A very fine trio perfor#an!e re!orded at 1ashied Ali@s !lub Ali@s Alley in E:OP and e. rhyth#i! stru!tures (herry had #oved #ore in the dire!tion of ?.ith 7d Bla!2. 5i$hli$hts here& (herry #a2in$ horn)li2e sounds fro# a !on!h shell over roilin$ tu#blin$ per!ussion.the free ja44 #o#ents are reserved for tru#pet and for Dyani@s ar!o bass solos.orld #usi!@ (althou$h albu#s li2e ?Bro.ay (herry steps up to a !elesta runs his fin$ers up and do.ith a <outh Afri!an flavour".edish television do!u#entary entitled ?%his is Hot 'y 'usi!@.in$ plaintive tru#pet lines into the body of the piano to $ive the sound e.ophone fro# 0ran2 6o.n ta2e on ?fusion@& eerie !o#binations of tantri! !hantin$ blasts of fero!ious burred sa.!o#G. %hin$s open ..ith 1 F B ..hibited his o.youtube. (herry $oes hippie? .as on ?'u@ (his duo .ay ba!2 to the piano and laun!hes into yet another tune.tra resonan!e. (herry@s piano playin$ as it . A “#usique !o##unale” as the %M announ!er des!ribes it su$$ests i#pro#ptu $roupin$s ja# sessions in the par2 A but in fa!t the roots are all there in (herry@s .as broad!ast on the 0ren!h %M pro$ra##e ?/a44 <ession@ and #ust have been #ade at around the sa#e ti#e as those t.n ?fusion@ period soloin$ ..ails and a fresh see#in$ly never)endin$ set of li!2s in a settin$ full of Beefheart)esque interlo!2in$ $uitars and !o#ple.or sin$in$ and playin$ the #elody line at the sa#e ti#e li2e a #ore left)field Geor$e Benson.ah).n 1i!e@ e.or blo.ah@d .pe!ted appearan!e of 5erbie 5an!o!2@s ?'aiden Moya$e@ for a #atter of se!onds.o albu#s.erhaps there is a little bit of that in the #i.ell" is #ore ?fun!tional@ than soloisti! settin$ up propulsive $rooves for the players to lo!2 into. By the ti#e his for#er e#ployer *rnette (ole#an had #oved into his o.or the brief and une.e and supple spa!ey $rooves fro# (harlie 5aden@s .!erpted fro# a <.or2 . 4on C!err1<Kames "lood Dlmer<.

ith a hard)drivin$ .!o#Gvideoplay?do!id[)C:PKPEBECB98P9:8CL:\ A $reat line)up of the free ja44 stars of the day (billed as the Ar2estra but in reality a 2ind of e.een the# to be filled by the on.ith $ritty physi!ality.ell)#i2ed bass !hurnin$ dru#s and (herry .panded !ha#ber $roup led by 1a".e have ha##ered repeated piano !hords . >l#er@s !hoppy $uitar buoyed by Ali@s spar2lin$ !y#bal patter !reates a #obile !onstantly)shiftin$ te. territories..a!ousti! bass".een the ener$y of hard)bop and the earlier #ore adventurous strains of fusion in .hi!h solos are !olle!tive and !onstru!ted of phrases .ith the re$ular $roup for years.ell in this !onte. %hou$h this see#s to have been a one)off $uest appearan!e (herry .ard)drivin$ rhyth# se!tion.tural .olish $roup led by sa.ith the #usi!@s !onstantly dippin$ and divin$ !ourse.or2in$ #elodi! lines .ophonist /anus4 'unia2.@ Sun . (NB: The full TV 'roadcast is availa'le+ http+CCwww.or2in$ in tande# . %he presen!e of three per!ussionists and t.een s#ooth yet unpredi!table lines and sudden blurted bursts.#E(&(45-0/ ?.youtube.comCuserCBi'i udiofilDgCcC&40.hi!h di!tate their o.. But (herry .ith 'unia2 alternatin$ bet.Stars @BCJ http&GGvideo.as still #ore than !apable of playin$ ?har#olodi!@ free ja44 .ith plenty of spa!e left bet.ts as de#onstrated by this fine $uest appearan!e .o bass players ensures rhyth#i! variety and te.$oo$le. <o here .ith *rnette side#an /a#es Blood >l#er in #usi! that li2e the blues that soa2s throu$h virtually everythin$ >l#er plays is in equal parts a#bi$uousG?abstra!t@ and astonishin$ly dire!t stuffed to the hilt .youtu'e. Kanus* Muniak Iuartet &eat9 4on C!err1 http&GG.t that it sounds li2e he@s been playin$ .n dire!tions into ne.or2s so .. %he #usi! is so#e.here >l#er@s $uitar !hords lead or laun!hin$ into s#earin$ and pier!in$ runs .!o#G. <o#e sense of the sense of movement that infor#s this #usi! !an be $ot fro# the !llose)ups of Ali@s fa!e eyes and #outh #ovin$ in a 2ind of $urnin$ tande# .ith (herry .at!h?v[Sl$$yHuG1nA +n the P9s (herry be$an playin$ on!e #ore in a!ousti! ja44 !onte.a All.here bet.ture .

isted i#portant #usi!al and !ultural differen!es (perhaps inevitably $iven that the s!enes had evolved on separate !ontinents in separate politi!al and ra!ial situations".at!hin$ !losely and listenin$ !arefully to ensure that no one $ets into a soloisti! e$o)trip.n ja44 s!ene as it appeared in its early days.eren@t all rosy bet.hole !ultural e.as of !ourse part of this .ie@s . (herry .ith a 7uropean $roup at the E:O9 Baden)Baden 0estival thin$s .hi!h throu$h a series of !on!erts !onversations and intervie.is dis!usses in his arti!le on ?Gittin@ %o =no.hi!h the Art 7nse#ble of (hi!a$o had based the#selves in .as by no.youtube.ell as of the off)sta$e personal dyna#i!s and intera!tion bet.as no.hilly /oe /ones@ dru# solo.s fil#ed around the ti#e of the E:PL Mision 0estival portrays the He.there e.there@s a real sense of pla!e !onveyed throu$h establishin$ shots of the !ity (su!h as (harles Gayle@s solo perfor#an!e underneath s2ys!rapers loo#in$ up throu$h a $rey)blue ha4e" as .!ontrast (1i!hard Davis is in parti!ularly fine for#" and even Ar!hie <hepp .nto.hole !aptures the looseness of thin$s at this ti#e of or$ani4ational foundation)layin$ and finan!ial stru$$le. (herry@s #o#ent in the spotli$ht !o#es around EP #inutes into the perfor#an!e playin$ si#ple #elodi! fi$ures in tande# ..ho stands out fro# the rest of the #usi!ians by his retro)ja44#an #ode of dress (he .E7 A short e." %he fil# as a . .!han$e havin$ played all over the .!o#G.ere slo. <o#e issues arise here around the relations that ...een 7uropean i#provisers and their Afri!an)A#eri!an !ounterparts A as Geor$e 6e.!erpt fro# 7bba /ahn@s ?ja44fil#@ ?1isin$ %ones (ross@ .at!h?v[eGOo9Ao].ly developin$ bet. Dor2 Do.ar2er in +ssue E of eartrip. 1a pro. 4on C!err1< Sound Dnit1 Festival Orc!estra @BCM http&GG.or2 re!orded .een the !a#ps.ls around the sta$e .ith .orld and adopted a #usi!al e!le!ti!is# a2in to that of the Art 7nse#ble.ell to the #ore at#ospheri! and e.peri#ental #o#ents in the #usi!. the s!ene subsequently developed see Daniel 5uppat4@ arti!le on Willia# . a #ove in the other dire!tion a!ross the Atlanti!.aris it see#s that there . D@All@ 6ester Bo. 'ore than a de!ade after that event after the spree of re!ordin$s for the BDG label and after the heady early O9s years durin$ .een the #usi!ians. presentin$ hi#self as a 2ind of $uardian of ja44 tradition" slots in . (0or a loo2 at ho.

at!hin$ the fil# as a ..hole thin$ .].s one to $et a sense of just ho.. +t sounds li2e the players !ons!iously tou!hin$ base . easy this #usi! is to .hile thro.eter Br3t4#ann and Daniel (arter do threaten to turn the pie!e ?=an$aroo 5oople@ into another free ja44 frea2)out blo.at!h?v[aHNe. 4on C!err1< .ay he #ana$es an ense#ble .in$ session alon$ the lines of Br3t4#ann@s ?Alar#@ but (herry #ana$es this ele#ent !arefully treadin$ a steady path.hile 'aria 'it!hell@s dan!e and 7llen (hristi@s vo!als add a lovely theatri!al !elebratory di#ension to thin$s.ith piano va#ps .at!h?v[*D. A reunion of the E:B9s Vuartet proves #ore than just #ere nostal$ia.hi!h .e !all a fade)outQ.ith su$$estive s#ears and to solo in jaunty #elodi! phrases supported by 5an!o!2@s boun!y al#ost do. (%hou$h one shouldn@t of !ourse $o for a stereotypi!al !o#parison of ?#elodi! A#eri!ans@ and ?atonal 7uropeans @ a ridi!ulous $enerali4ation to .ith #e#bers of the 5eath fa#ily influen!ed by 1on =aren$a@s Bla!2 Hationalist ?=a.v%B59s %his #i$ht not see# the #ost li2ely !ollaborative pairin$ but in fa!t 5an!o!2 and (herry had played to$ether in the pianist@s pre)fusion days (on a fine free ja44 tin$ed re!ord .hole soon $ives the lie.hat unli2ely A %helonious 'on2@s ?Be#sha <..art 1on (arter on bass and Billy 5i$$ins on dru#s (herry is in buoyant #ood $ivin$ 'on2 a shout)out (“.!o#G.er0ie .!o#G.youtube. “%his is .ancock @BCE http&GG...hi!h in!orporates several fire)breathin$ 7uropean #usi!ians.e just fade ri$ht on outQ” Ornette Coleman Iuartet H Spain% @BCL http&GG.ever $iven the fa!t that his #usi! had be!o#e in $eneral #ore #elodi! and less overtly tied to free ja44 it@s intri$uin$ to .. With stal.youtube.aida@ philosophy".5o.in$ #ore than a dash of sho.if anythin$ hearin$ the $roup de!ades apart fro# the initial !ontroversy surroundin$ its perfor#an!es allo..ay throu$h the . %he !hoi!e of #aterial also see#s so#e.hat about %helonious 'on2Qhe said you !an dance to #y #usi!Q”" and pro!eedin$ to play the the#e .hat .ith older traditions .itness the .in$@ A but any doubts are soon dispelled.n)ho#e piano.O6vSM.#anship into the #i." At ti#es the li2es of .

(harlie 5aden #ean.o yearnin$ hu#an voi!es full of deli!a!y and $ra!e.ay he and (herry reprise that s!rea# as the final note of the pie!e. +nterestin$ to spe!ulate on the per#utations of ..hi!h they return has an a#bi$uously . %he the#e .hi!h he@d brou$ht ba!2 fro# his Afri!an travels (and .ri#e %i#e bands. 4on C!err1<Orp!1 .ith . found another ja44)playin$ advo!ate in the person of bassist Willia# .ith a deli$hted)loo2in$ (herry sin$in$ and playin$ the doussn@$ouni a $ourd)based strin$ed instru#ent .at!h?v[Md(9:tSo<]' World #usi! .ith an i#a$inary or silent partner.hi!h the quartet open and to . %hou$h ostensibly they@re playin$ a ballad here *rnette@s solo sees the te#po qui!2en as he starts to spin out those 1FB derived phrases he used to blare out over the rhyth#i! thi!2et of the .hi!h has no. 6isten in parti!ular to *rnette@s ?s!rea#@ forty)three se!onds in and to the .istful ed$e to it (ole#an@s alto and (herry@s tru#pet li2e t.youtube..o0inson http&GG.een the phrases in his solo as if playin$ a duet .appre!iate ho.!o#G. #u!h the looseness of its perfor#an!es (playin$ on the ?#ood@ of the son$ rather than on the !hord !han$es" !a#e in the end fro# the sa#e funda#ental e#otional i#pulses as the blues.ar2er"..hile ro!2s his bass fro# side to side as he plays leavin$s odd pauses bet.

And . +n that sense it@s li2e an updated version of the DyaniG%e#i4 trio .n borders in order to !o#pete . %hese are !onne!tions bet.ith the fo!us on #elodies rather than e.ell as an e#bra!e of !onte#porary pop te!hnolo$y.e #ustn@t for$et (herry@s !onne!tion to the British pun2Gja44 s!ene throu$h his step)dau$hter Heneh a #e#ber of the $roup 1ip 1i$ and . As the O9s .ith those already in e.as so#ethin$ of a return to a!ousti! ja44 (perhaps #ost si$nifi!antly . At the ti#e (herry .in$ one another in qui!2 su!!ession .as still very #u!h a part of the plan but there .ith 'ulti2ulti finds ti$htly)played unison the#es follo.ere united into lon$ #edleys li2e one of the pat!h..tures fro# around the $lobe..ife 'o2i for his albu# !overs and perhaps anti!ipatin$ the stret!hed)out stru!tures of 'iles Davis@ ele!tri! bands.ith the $roup *ld and He. %his early :9s date .hile (herry fused all the !ontinents (an Afri!an)A#eri!an .istin$ as a se!ond)hand inheritan!e fro# A#eri!an #usi!ians .orld #usi!@ throu$h his in!orporation of rhyth#s #elodies and instru#ental te. +nto the P9s and this $lobal #eltin$ pot ..ist for #ar2etin$ purposes (ti!2in$ all the ri$ht !ultural bo.een $enerations nationalities and $enres that don@t just e.or2in$ in suite)li2e for#s in .or2 quilts desi$ned by his . Drea#s" as .es" but arise fro# a $enuine desire for !ollaboration and !ross)fertili4ationassertions of identity that don@t need to set up their o. %hin$@ #usi!ians in his land#ar2 E:OB study ?0ree /a44@.youtube.ist in 7urope !ulturally spiritually or in this !ase #usi!ally”" rather than e.ell& flute po!2et . Multikulti @BB@ http&GG.perien!e (“Afropeans (definition"& to be of Afri!an des!ent and to e.!o#G.tended soloin$.as part of an ener$eti! British ja44 #ove#ent !reatin$ #usi! that $enuinely arose fro# the bla!2 7uropean e.ith the usual array of other instru#ents as .isten!e.at!h?v[4C81VqvD949 722erhard /ost had praised (herry as one of the #ost for#ally innovative of the ?He. (herry plays a lot of 2eyboard (thou$h .this !ollaboration& 1obinson as a #e#ber of the /a44 Warriors .hi!h pre!eded it by K9 years (this band even plays so#e of the sa#e the#es".hi!h a #yriad of the#es and fra$#ents .as .ent on (herry be!a#e #ore interested in the #usi! of other !ultures developin$ into a #ulti)instru#entalist rather than pri#arily a tru#pet player and !an be seen as one of the pioneers of ?.ho@d been heavily influen!ed by Asian philosophy and had settled in 7urope".ani! (indeed he $uested on the $roup@s E:PC albu# ?+ a# (old@".

ophonist. "estiaries FON4 OF TI'E.ith the spirit of the rest of his #usi!. While not e. Interaction FDTTE.% A5:IN H 5ive at Tampere +ONITP < C. H un .E.AE5 H Fields .E H Oversteps "ENPENE < TOMM3 "A"IN H 3our "od1 is 3our (rison C.E:IEWS IN4EN “Criticism is a wa!s the easiest art"# . Semi.E.A% TOS.SANO% C.IC+< 5AS..a1#ard -ATJ?2 A+I3AMA% TETDPI< NA+AMD.+2AC.aunted Waves% Movin 'raves 4AWN OF MI4I H First 4IAT.OO+E.averin$ tone and so#e of the te.OMAS< 'DT..A.IS H Identical Sunsets E. ".or2 A his tru#pet playin$ sounds a little ropey .ASS ▪ 4avies < 4orner -ATJ@) ▪ .4IN'% .IMA.O% MIC.% WI55IAM -Trio2 H 3earn &or Certaint1 IN.O0sch< Spiller -ATJ=2 ▪ Fa00riciani<.MAN% KOE5< KO..'O H Multitude% Solitude FA.3 'D3 .IE H T!e Ames .tures !an sound a tad dated in the #anner of #u!h P9s and :9s fusion A the overall effe!t is pleasant and very #u!h in 2eepin$ .EE+< 5EI"O:ICI – Ku endstil II 5O'AN% 'IDSE((I H T!e 'iuseppi 5o an Iuintet NoMoreS!apes H Creesus Crisus O.IES ▪ +Oc!en< .eter Apfelbau# !o#es a!ross as both a !o#petent piano player and sa.I5 .4AN% '+I44' .ave Ears (OTSA 5OTSA H T!e Complete Works o& Eric 4olp!1 . SE. -4'2 C4 .tru#pet doussn@$ouni #elodi!a" i#partin$ a bri$ht poppish sound to pro!eedin$s .oom .4AN% '+I44'< FIE54E.Impressionism ADTEC. "u • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • . TIM". Cornelius Carde# • • ANOT.T H 'od o& 4eca1 COSOTTINI< ME5ANI< MIANO < (ISANI H Cardinal CD.O% MIC.E: 'DITA.'.EA:ES% (. Multitude 4' INCISE .MAN% KOE5< 5E:IN% I+E H 4ialo ues Q Connections FDTTE.A..A"ITANTS H A :acant 5ot KOO+5O 4DO H T!e Warrior FDTTE..MAN% KOE5< KO. TIM". 'raculus .% (AT.A5ME.hile in the #ulti)instru#entalist spirit of thin$s .ENS H Sel&.S% STDA.A.E: 4DOS WIT.S H Continent Q Western 'DIONNET< T.titled TA+ASE% A+I H A Week Went "1 tus+ .a!tly (herry@s $reatest .o#e< Wri !t -AT=B2 ▪ :olden< Nakamura -AT=E2 ▪ Ap7Strop!e -AT=C2 ANOT.ED-S.O554OWN< KASON A4ASIEWICP H :armint SAINCT 5AD.ME. SAc!eresse (lantAe En (lein Ciel 4DNMA55% (AD5< CO.IC.D .AE5< SD'IMOTO% TA+D H = Seconds< " Minor < Wave (ISA.ENT BJ H .I"ES Q "A.ith a thin sli$htly .4< .% 4OMINIC .FEO > H A 3ear On T!e Ice (ISA.

E% 4A:I4 S9 .=eith 1o.AE5 '.E'O.ope to T!e Sk1 WA.istorical< .I'.ophone.S% (ATT3 .o#e< Wri !t -AT=B2 :olden< Nakamura -AT=E2 • Ap7Strop!e -AT=C2 MA. W. Sin s Re$iewers: David Grundy% Ted 6arms% Sandy Aindness C4 . /a#es the lesser 'idhopestones near <heffield .e& ele!tri! $uitar<ey#our Wri$ht& alto sa.ophone Additional In&ormation: 1e!orded by <i#on 1eynell on ELth /une C99: at the !hur!h of <t. Saturnian -Solo Sa/op!ones% :ol9 @2 .E:IEWS %N&T'(R T)MBR(: G*)T%R +(R)(+ • • +Oc!en< .issues • • • KAC+SON% MIC.• • SWANS H M1 Fat!er Will 'uide Me Dp a .T Tracklist: >ntitled %ra!2 (ersonnel: 'artin =^!hen& alto sa.OWE< SE3MOD.e.EN < +EIT. .3 H Clarit1 SIMMONS% SONN3 H Sta1in on t!e Watc! WATE.TIN +RC.

ith infor#ation as to the #usi!ians date and lo!ation of re!ordin$ absent fro# the sleeve boo2let .ritten notes no portions of infor#ative te.hat #a2es . But the de!ision to deploy a burst of #usi! or spee!h or . +f .ould unfortunately be a little overly s!he#ati! A + hear the #usi! for #ost of the dis! at least #ore as an all)over #esh than as a .pe!ted".tended te!hniques have be!o#e a ?nor#al@ part of the instru#ent@s ran$e. about and his partners here #ust undoubtedly have been influen!ed by that ethos& thou$h ostensibly ?sa.hat it is A shut up and listen. As to .atery se!tions of !ir!ular breathin$ or sudden shrill shrie2s it !o#es as a surprise to hear the re!o$nisable sound of an a!tual instru#ent Aand even these are only re!o$nisable to those for .een the pla!in$ of these three obje!ts and the role of the three #usi!ians .ant .ords ?additional notes @ printed in bla!2 bold !apitals over a dar2 $rey ba!2$round.een individuals.hi!h espe!ially privile$es differentiation bet. 1adios are the #ost obvious and .traneous philosophi!al #usin$s or re!ordin$ details then A no need even for tra!2 titles.atterson.ithin the !onte. /ust these .e hear 1o.t of the hu#an intera!tion ta2in$ pla!e throu$h .ithin that sa#e spa!e".a person #a2es this de!ision in relation to the sounds surroundin$ the# and the a!tion thus ta2en #i$ht even be interpreted as havin$ a #oral ed$e .hat things e. %here is interplay here bet.or2 .e !ould read in a !orresponden!e bet. <u!h a readin$ . 0urther#ore there is a point to be #ade here about ho. Ho need for e.ould be very hard to identify the# as su!h on a blind)fold test.this re!ordin$ is .a#ple of the latter& and so . does one $et one@s head around the notion of a ?sound)in)itself@?" and the ele#ent of ?.hat loo2s li2e the dar2)$reen !orner of a leaf.orn e.hi!h .a!tly (besides the !onventional instru#ents" #a2e the $reater part of the sounds .ay into the perfor#an!e for =^!hen 1o.ophonists@ it .e@s bursts of !lassi!al #usi! the intrusion of the idio#ati! the sense of the overheard A and both Wri$ht and =^!hen@s preferen!e for usin$ radio in !onjun!tion .hite noise fro# a radio is not an arbitrary one.ith sa.ay in .een the !ons!ious !ontrol of resour!es A the !arefully deploy#ent of parti!ular ele#ents at parti!ular ti#es to shape the te. . +n other .ell).hi!h !ould be i!e)!rea# or so#e less palatable oo4e a shiny yello.e and Wri$ht favour a play of un)trans!ribable noise and ti#bre .t are forth!o#in$.hat #atters is the quality of the sounds the#selves.hi!h instead !ontains a !ouple of photo$raphs by 6ee . %hese are !lose)ups of food or food) li2e substan!es& that adornin$ the front !over depi!ts a pin2 s#ear . $lob (#ustard?" and .e@s de(!on"stru!tion of the $uitar .ith a distin!t industrial ed$e.%he sleeve desi$n is spartan .ophone (for instan!e pla!in$ it in the bell of the instru#ent to !reate a parti!ular vibration". Honetheless it@s very hard perhaps al#ost i#possible to thin2 of sounds in su!h a dise#bodied .ithin the perfor#an!e A sittin$ on the ed$e of the fra#e separated fro# ea!h other thou$h still lar$ely inhabitin$ the sa#e spa!eapparently all very different but all havin$ so#ethin$ in !o##on (even if that so#ethin$ is only findin$ the#selves .hat #i$ht stri2e an una!quainted listener as an ele#ent of rando#ness.e 2no. And it see#s in #o!2ery of any overly pedanti! or analyti! atte#pts to read the #usi! the inside sleeve !ontains the .ay (ho.e hear one #i$ht ar$ue that su!h !uriosity is so#ethin$ of a quibble& .ture A and a deliberate use of equip#ent .erhaps also these ?additional notes@ pun on the ?I#usi!alJ notes@ that did not find their .hat sound@ re#ains i#portant.ords Ano . 1o.ords the spe!ifi!ity of the devi!es used and the . this perfor#an!e is !entred so #u!h on mechanics.hi!h they are used is i#portant despite . When one hears brief #uffled .ho# e.ill !reate sounds 'eyond !ontrol (the spa!e of the une.e .

in$ board Additional In&ormation: 1e!orded in *slo and %rondhei# Hove#ber C99P Given that =eith 1o.ith the tiniest fra$#ents of #elody" .hatever other devi!es are bein$ e#ployed.or2 of these parti!ular artists then and even $iven that those people . 7ven to those fa#iliar .orld at lar$e (parti!ularly the .and so + !an@t help but hear the afore)#entioned spe!ifi!ity of devi!es as havin$ a di#ension beyond the #erely #usi!al.pertise in the #anipulation of the sound devi!es". And yet it .ith banality (via the sub) !ons!ious hu# of 1adio L voi!es" and in the final drone se!tion (.illin$ to $rant #o#ents of $enuine e#otional affe!t.ho has .*+C*-%R R%Y+ Tracklist: <!atterin$.n duo .. +n itself this #i$ht or #i$ht not be a ?!o##ent@ on the industrialisation of so!iety or the role of ele!troni!s in everyday life.or2 of transfor#ation at on!e flirtin$ .ered shavers alar# !lo!2s and .ould perhaps be #ore appropriate to !all Molden a $uitarist per se than it .D NA+AMD.or2 . But it does si#ultaneously #iti$ate a$ainst the $lass) !a$e separation of the e.ith the .e . %his is the !ase not only for the use of radios but battery)po. + don@t thin2 it@s too fa!ile to say that the #usi! sounds ?#e!hani!al@ due to the use it #a2es of various #a!hinesG instru#entsG #a!hines)used)as)instru#ents. .er!eption (ersonnel: 5_vard Molden& EC)strin$ $uitar obje!ts%oshi#aru Ha2a#ura& no)input #i.ith the A'' founder.orld in its soni! di#ension" .hi!h is la!ed .4 :O54EN< TOS.S:A.alted instru#entalist)perfor#er fro# the #inutiae of our e.hilst retainin$ an essential ?alien@ quality (and an ele#ent of #usi!al e.IMA.ould 1o.the #ediu# of #usi!al i#provisation.ill probably find no parti!ular surprises as su!h here this #ust re#ain ?so#ethin$ ri!h and !han$e@& a .A H CR(.e features on another dis! in Another %i#bre@s ?Guitar <eries@ one #i$ht be te#pted to pla!e ?(repus!ular 1ays@ alon$side Ha2a#ura@s o.perien!e of the .

+n addition there are so#e #o#ents that !all attention to the#selves .henever the ship see#s #o#entarily to steady A . And these events are often isolated so that they do not feel li2e ?events@ as su!h& they possess a sense of stasis rather than of #o#entu#.ays this is a!tually a harder listen than Ha2a#ura@s 1o.ithin !onte#porary free i#provisation. but never e.is li2e a perhaps hand (ersonnel: 0erran 0a$es& a!ousti! $uitar.ith ?ele!troni!s@ as ?$uitar@.s out li2e hi!!upped s!rea#s over har#oni!s)filled $uitar around si.ith pre!ise yet often une. #inutes before #ovin$ on Ha2a#ura doin$ li2e.n release . 5ere one is not allo. But han$in$ 4ither)li2e tones hover li2e stran$ers over Ha2a#ura@s ele!troni! bu44in$s !ra!2les flutters and burblin$ .)li2e .E H C&RGR&C Tracklist: sprin$. *ne has the sense that this is a difficult re!ordin$. but that the sounds the#selves ho. %he perfor#an!e possesses a !ertain tension to it too& Molden@s use of feedba!2 in !onjun!tion .n trade#ar2 sustained tones and #a2in$ #ore of the #etalli! quality of the strin$s than of the .ever star2ly or si#ply deployed have a !ertain quality to the# .e #usi!al . Honetheless there are #ove#ents in and out of parti!ular areas Molden often findin$ a parti!ular type of sound and sti!2in$ to it for a fe. Honetheless it@s a serious and sustained pie!e of .ho see#s al.een@ $ives the pleasures of full)blo.Di#itra 6a4aridou (hat4i$o$a& 4ither Additional In&ormation: 1e!orded in Bar!elona De!e#ber C99P.the sonorities deployed are often harsh but .ays in syn! so that the #usi! pro!eeds in overlappin$ .een the a!ousti! (they are re!o$nisably the sound of so#ethin$ bein$ rubbed sound !reated throu$h dire!t physi!al !onta!t" and the ele!troni! (the a#plifi!ation lendin$ the# a harsh eerie ed$e". +n so#e . A(7ST.hile the #ore drone)oriented #o#ents have a 2ind of !al#ness to the# despite the ele!troni! stran$eness of the sounds.erhaps his !ontinued use of the table) top instru#ent is a 2ind of a!2no.led$#ent of history just as he !ontinues to referen!e old #asters su!h as (arava$$io alon$side 1oth2o in relation to his visual art and just as he !ontinues to appre!iate listenin$ to ja44. %hus .!onverted his tools over the years to su!h an e.hether throu$h the use of loopin$ or a drop in volu#e A so#e harsh hard)ed$ed burst of #i!@d)up a!ousti! s!rape or no)input squall interrupts any tenden!y to reverie.ith his a!ousti! instru#ent #eans that there are sudden s.or2 and an i#portant entry in the diale!ti! of the ele!tri! and the a!ousti! that !ontinues to play out .alls)of)noise but instead !hooses to let shards and fra$#ents of this noise drip and squee4e their .e !ollaborations& even the ?noise tra!2@ on ?Bet.panded on and deliberately 2ept in !he!2 by Ha2a#ura .ells in volu#e $ivin$ his playin$ so#ethin$ of a volatile quality." %rue enou$h Molden has !learly e#er$ed in a post)1o.ith a#plified s!rapes half).ith $reater for!e than others& in parti!ular the sudden harsh ele!troni! squalls that Ha2a#ura thro.a!tly ?!al#@.not so #u!h that it@s overly !o#ple. #inutes into the first tra!2.ed the satisfa!tion of either approa!h& the #usi! is slo. (.e never really enter ?noise@ territory. .#i. %his is both e.ooden resonan!e of his instru#ent .tent that he !ould just as easily be !redited .ise thou$h not al.here events rin$ out and then disappear over a !onstant thou$h #odulatin$ ele!troni! ba!2drop.pe!ted pla!e#ent.or #ore properly !urtails it before it has be$un.orld.aves.he does not leave the $uitar untreated #i!in$ it up to !reate sine)feedba!2 si#ilar to Ha2a#ura@s o.O(.ed 0eburary C99:.ay fro# his no)input board in qui!2 !urtailed bursts releasin$ the# .hi!h is hard to $et a handle on.ays on the ver$e of 'er4bo.hite noise A this is the !hara!teristi! feature of the dis!@s i#provisational lo$i! .ay bet.

in$ tones li2e #oanin$ !ryin$ voi!es quiet ho.n)out #elan!holy of this se!tion.ers see# not to have been so affe!ted.l)s!ape is joined by another of those ele!troni! tones this one flutterin$ li2e a sedated inse!t and initiatin$ a dip in e#otional intensity as !hi#in$ hand)bells and #i!@d)up fin$er)taps add a s. After five #inutes or so the drone fades a.ay to be repla!ed by !rea2s $roans and plu!2s that e#er$e !autiously fro# the sudden silen!e. to ta2e their ti#e sti!2in$ .hi!h evolves fro# bein$ ?just@ a fine pie!e of i#provisation into so#ethin$ #u!h #ore& a . to su# up the albu#@s i#pression on #e espe!ially as other revie. .ith an apparently li#ited palette not $ettin$ in ea!h other@s .)toned and al#ost hollo.hat@s produ!ed is a steady un.as a!tively disturbed by the #usi!@s une.n A at on!e i##obile (as e#phasised .ay& notes #ay be !ut off before they have a !han!e to resonate or dribble out into a silent void.tural #ini#alis# to so#ethin$ of $enuine sustained e#otional intensity + find #yself rather at a loss as to ho.ed 4ither tones $uitar still resonatin$ .ith a #ournful #onosyllabi! lo. . on squealin$ bo.ave fades a.orable . Given the .er)end.ay that the #usi! suddenly develops fro# subdued te.hines. %he #usi! pi!2s itself up a$ain dra$s itself a!ross the floor the !on!entration no.ith e. ho.t . 0a$es and (hat4i$o$a 2no.er and pull A !au$ht off)$uard one #i$ht say.at a !ertain point the ho.ith an ele!troni! #i!rophone drone that thin$s be$in.no.for so#e #inutes one of the players transfor#s their instru#ent into a door)hin$e that needs oilin$. %his !arries on for so#e fifteen #inutes.hen set a$ainst interspersed strin$)stru#s" and full of stron$ rhyth#i! su$$estion.but ?(or$ro!@ is an unusually !o#pellin$ re!ordin$ one . While the other ?Guitar <eries@ dis!s have #o#ents of e#otional pull there@s nothin$ quite li2e the dra.ords interspersed .and eventually even this be!o#es too #u!h both #usi!ians sittin$ for a #o#ent in total silen!e.averin$ tone off)set by ho.hat tentative re)start but it leads into so#ethin$ that !au$ht #e !o#pletely by surprise. But the fa!t re#ains that + .ay and 0a$es stru#s #elan!holy !hords repeated and resonatin$ over little pops and !li!2s presu#ably produ!ed by (hat4i$o$a. %his is probably !reated throu$h holdin$ an e)bo.ay if it had found its .hat the duo intend to e.indeed ?#elan!holy@ is hardly an adequate adje!tive for the sense of !laustrophobi! near)tor#ent of deep despair that@s present A all see)sa. Another drone opens the #u!h lon$er se!ond pie!e sli$htly softer than the first and see#in$ al#ost to #ove throu$h the air as the volu#e is subtly turned up and do.ith alternatin$ sin$le notes the at#osphere turns distin!tly doleful and o#inous 0a$es@ $uitar #onosyllabi! as if lettin$ out sin$le . on one of the strin$s thou$h +@# not entirely !ertain A in any !ase .)soundin$ plu!2 their .lin$ 4ither s!rapes. %his #ay not stri2e so#e people as a re!o##endation.irlin$ rhyth#i! di#ension that dra$s itself out past the disappearan!e of the ele!troni! tone and into the a final silen!e.hereas it #i$ht not appear that . And then the tra!2 ends& this is so#ethin$ of a surprise but it adds a ni!e sy##etry and sense of neat for#ality A an en!apsulation in #iniature perhaps of .plore at $reater len$th durin$ the #ain se!tion of the dis!.ay unobtrusively underneath this ele!troni! tone until after eleven #inutes the sine . Guitar and 4ither $enerally lo. +t@s a fairly a$$ressive openin$ or perhaps see#s so be!ause of the !onte. And yet it is .ls ine.er.ith the instru#ent in its !onventional for# as an a!ousti! sound) produ!in$ body of #etal and .ay into the $enerally louder MoldenGHa2a#ura !ollaboration.pe!ted !u#ulative po. +n truth it@s a so#e.%he third in Another %i#bre@s Guitar <eries sees a #ore obvious en$a$e#ent .ood rather than one shaped by feedba!2.tended tortuous pauses (hat4i$o$a usin$ the 4ither as a #ini#alist per!ussion instru#ent .or2 of real and re#orseless po.

*&+ /)T' BR%++ 4avies< 4orner -ATJ@2 • .A.ser . releases offer a 2ind of . H %".here bein$ !aptivated by everythin$ tryin$ to !at!h hold of the flashin$ li$hts the neon fire)flies fli!2in$ past #eans that one ends up bein$ truly !aptivated by nothin$ burnin$)out $oin$ blind throu$h over)e.st^!2 tri (ersonnel: An$harad Davies& violin.ireless strea#s of sound all round us.posure $oin$ deaf throu$h the endless babble of tal2 and #usi! the air).here there is no ti#e to pay attention to any one thin$ in parti!ular (one #ust al. Honetheless + a!2no.ise “so you don@t have to $ive it your !o#plete full unadulterated attention? IQJ %hat@s one of the thin$s that@s .el!o#e per#anen!e or se#i)(per#eable?" per#anen!e.el D3rner& tru#pet <i#on 1eynell@s pra!ti!e . + personally do find laudable the desire to ?$et stuff out there@ the ubiquity of ne.a1#ard -ATJ?2 • • AN'. releases.ith fairly short runnin$ ti#es (A.the use of the te!hnolo$y of the +nfor#ation A$e to push the under$round fro# out of its ?under$round@ !liques into the bri$ht li$hts of the World Wide Web.ires and .ith Another %i#bre see#s to be to produ!e if not ?art obje!ts@ (a ter# .elease 4ate: /uly C9E9 Tracklist: st^!2 un.%N&T'(R T)MBR(: .hile ?the latest “eai” @ drifts by in another".e have here are recordings A ar$uably different beasts to bein$ in the presen!e of (the sa#e roo# as" a live a!tual in)the)#o#ent i#provisation.hi!h !reative i#provisation as a pra!ti!e !annot but be inti#ately asso!iated ..A4 4A:IES< ANE5 4T.NE. is ?only@ forty #inutes lon$" that en!oura$e one to ta2e a #easured approa!h& to savour the# di$est the# play the# throu$h several ti#es over thin2 about the# #ull over the# !onsider the# in)depth.hat .O0sc!< Spiller -ATJ=2 Fa00riciani< .aves and .hi!h for #e #iti$ates a$ainst the essential fluidity .!han$eable . %his is not so#ethin$ to deplore thou$h perhaps Dere2 Bailey #i$ht have it other.A." 5a0el: Another %i#bre . %hus 1eynell@s ne.indo. .thou$h i#provisation is all about transien!e .ith" nonetheless !arefully)prepared albu#s #ore often than not .D.st^!2 dau.ays be s!hi4ophreni! listenin$ to +$$y and %he <too$es in one bro.led$e that there are dan$ers here A parti!ularly the subsu#ption of easily)available and !onstantly)#ultiplyin$ !ontent into an infor#ation overload a real# of the infinitely)e.

%he last fe. .” (0ro# an intervie.ritin$".he@s as li2ely to let a sudden rasp of sound !onvin!e one for a split se!ond that there is a per!ussionist in the roo# or to #a2e !ir!ular rubbin$ #otions a$ainst the #etal surfa!e of his tru#pet (as at the start of ?st^!2 dau@".ith re$ards to brass instru#ents (.n deploy#ent of that note i##ediately before rendered as a #ore breathy .ays in the sa#e pla!e (spa!e" but patient enou$h to let one person say so#ethin$ ?on their o.hy should it? A and 1eynells is obviously 2een for the #usi! to appear in so#e sort of !onte.hat has $one before it Ait is #ore li2e a pali#psest than a ne. When he plays a repeated note ?strai$ht@ (in response to Davies@ o.ron$.ith Brass@.ays to$ether be!ause al.hi!h is not really a solo as su!h be!ause it is unavoidably ins!ribed by .er state#ent)and)response proposition and !ounter)proposition #odel.ophone ) #usi! history and te!hnique A a!tual and potential. *f !ourse $iven the #eans by . +ndeed to . And it sounds as if he reali4es this A there follo.ay".D.ays. %hat ba$$a$e . IQJ +f you !ould only play a re!ord once i#a$ine the intensity you@d have to brin$ into the listenin$. D3rner is not a ?brass@ player as su!h here thou$h he #a2es #u!h of 'reath blo.s a silen!e (a #o#ent of !onte#plation of steppin$ ba!2?" A before the return of the e. As one #i$ht e. spa!es" #any listenin$ to this re!ord will be busy #a2in$ !o#parisons .iano <eries@ A and A.hat he@s just done& after all su!h .ith previous releases or evaluatin$ revie.ith Brass@ the #ost pertinent lines of enquiry see# to !on!ern the asso!iations .e #a2e .D. ?duos@ operate.ith is not only un)realisti! but perhaps a!tively har#ful $iven the role that re!ordin$s have had in shapin$ our #usi!al !ons!iousness (as edu!ative tools if you li2e thou$h not in a pres!riptive .ay A .tended te!hnique@.ith pre)!on!eptions than a release already surrounded (s#othered?" by te. K@ in Watson@s ?Dere2 Bailey and the <tory of 0ree +#provisation@".al. !ontains no liner notes or infor#ation beyond the #ini#u# tra!2)listin$ personnel and re!ordin$ details and so !o#es to the listener less burdened .in$ burblin$ subdued $usts of air.A.s that they@ve already read. ?duo@ doesn@t #ean the obvious question)and) ans. 1eynells is not si#ply presentin$ so#ethin$ ?.e #a2e about ho.hi!h have be!o#e very different listenin$ propositions $iven the innovations of D3rner and the li2e" and the assu#ptions . line of .n ?solo@ (.orthy of study@ li2e a paintin$ or s!ulpture.isp of sound" the effe!t is as surprisin$ as if a ?re$ular@ tru#pet player had suddenly e#ployed an ?e. *n the other hand Bailey hi#self devoted #u!h ener$y to runnin$ +n!us re!ords so the notion of re!ordin$ as death (or perhaps !ryo$eni! free4in$" does have to be ta2en .n@ before the other joins in or before the other ta2es their o.hi!h is ?just there@one is re#inded of the short (one senten!eU" state#ent that a!!o#panied <ey#our Wri$ht@s self)released ?<ey#our Wri$ht of Derby@& “%he #usi! is i#provised and about the sa.D.tual dis!ourse& liner essays ha$io$raphies #anifesti. 1ather Davies and D3rner play together in a variety of different . We are bein$ spe!ifi!ally as2ed then to thin2 about this #usi! as part of the history of instru#ental pra!ti!e rather than as so#ethin$ .ith a pin!h of salt.ill not $o a. is part of a four)part sele!tion entitled ?Duos .ith Ben Watson reprodu!ed as ?Appendi..hi!h the free i#provisation !o##unity re!eive and thin2 about their #usi! (online fora and revie.pe!t on A.tual area.ants to reje!t . %hat doesn@t ne!essarily #eans he . releases on another ti#bre have !o#e under ?headin$s@ A ?%he Guitar <eries@ ?%he .” +n the !ase of the ?Duos .tended te!hniques.ay .ish re!ordin$ done a.

+ reali4e that so#e qualifi!ation #ay be in order re$ardin$ .ell A but he understands (and .orld .lin$s #u#blin$s quiet roarin$s be!o#e ?!ounterpoint@.hen perhaps .hi!h su$$ests the# alludes to the# (.ant us to reali4e the ter# ?brass@ in !onte#porary free i#provisation !an #ean so#ethin$ quite different than it did in the past.isten!e in our environ#ent (.ay the sounds produ!ed on this re!ord are as #u!h ?natural@ as they are ?alien@& to.adds to the# e. releases . ?What do + thin2 of this obje!t as? What is this thin$ + have been tau$ht ho.ay that . *ne #i$ht even !onstrue it A that repeated !onventional note A as parti!ularly beautiful thou$h it #i$ht be a #ista2e to sin$le out parti!ular #o#ents as idealised senti#entalised ?oases@. *ne #i$ht refle!t that it@s pretty hard to obtain entirely un)#ediated a!!ess to ?natural@ sounds parti!ularly if one lives in an urban environ#ent.hi!h is at on!e ?futuristi!@ (?far out @ out)of)the)ordinary" and essential even ?pri#al@.hether as un!ons!ious by) produ!t or throu$h deliberate intent".ith it than + have been tau$ht? What are the i#pli!ations of #y #a2in$ ?unusual@ sounds .ei$ht& ten #inutes into ?st^!2 tri@ t. *f !ourse D3rner is perfe!tly !apable of playin$ ?nor#al@ ja44 tru#pet A and does it very .ay.plored. All that said to !onstru!t a theoreti!al edifi!e about natureG!ulture .hi!h Dorner@s blastin$s $ro.o #usi!ians !reate .e filter ?natural@ sounds any. What is !ertain is that in su!h an environ#ent the si#plest of $estures !an ta2e on enor#ous histori!al . <o .tended@? ? <u!h thin2in$ #a2es the instru#ent see# at on!e #ore natural and #ore alien than if it . And this #eans despite the ?li#itation@ and ?restraint@ .ith the #ediations of .o violin notes be!o#e a #elody a$ainst .hi!h does not #erely ?refle!t@ the non)hu#an sounds already in e.hat sounds li2e a si#ultaneous i#personation of a $ur$lin$ baby and a parti!ularly hi$h)pit!hed fluttery bird)son$.ere treated !onventionally& #ore natural be!ause every aspe!t of its body of its sound)#a2in$ !apa!ity !an be e.for as these ne.pands on the# #er$es the# .as ?a conventional brass player@.ithin the spe!tru# of hu#an thou$ht and understandin$ the !on!ept of an entirely ?natural@ sound (if ?natural@ is understood as ?non)hu#an@" is a rather tri!2y one in the first pla!e. to play? What #ore !an + do .#ore alien be!ause it is suddenly full of ne.ood and #etal throu$h the bodies of violin and tru#pet and the further #ediations of these instru#ents throu$h the body and breath fin$ers and hands of the #usi!ians playin$ the#.ants us to understand" the instru#ent as #ore than just that A as !ontainin$ possibilities . <o too Davies in relation to the violin deployin$ various obje!ts in the strin$s and playin$ all parts of the instru#ent in .hi!h see# apparent throu$hout (the unspo2en di!tu# a$ainst ?e#otive@ display or the pea!o!2)strut of !onventional virtuosity" that there is an i##ense sense of possi'ility here& the !reation of a sound).ritten ?D3rner is not a ?brass@ player as su!h@ .hat + #eant .they are !reatin$ so#ethin$ .ists . +n a sli$htly different .n vo!abulary".hat the #usi!ians are doin$ is a2in to the .n possibilities.and one #i$ht even refle!t that $iven the ne!essary presen!e of a hu#an ear to #a2e those sounds e.ith it? What does it #ean for a te!hnique to be ?e.ards the end of ?st^!2 dau@ the t.ind trees birds ani#als" but .hi!h are as #u!h ?brass@ be!ause they are inte$ral to the physi!al #a2e)up of the instru#ent as #ore !onventionally ?brassy@ sounds. previously un2no.hat #i$ht be !alled a state of per#anent questionin$ (thou$h it does obviously establish its o.ordin$& +@ve .thou$htful players do not play so#ethin$ frivolously do not ?toss so#ethin$ off@.

(perhaps .ell)established and developed vo!abulary. *ne #i$ht asso!iate the spinet .ith the #usi!& not . the Ger#an ?st^!2@ . A neat parallel is provided by the tra!2 titles . < C.hatever David =eenan #i$ht thin2 about it".(hristoph <!hiller& spinet Additional In&ormation: 1e!orded in (olo$ne and Basel 0ebruary F Hove#ber C99: %he #ost obviously stri2in$ thin$ about this re!ord A stri2in$ before one even listens to it and aptly fittin$ Another %i#bre@s re#it to e.ith brassy abandon but unfolded .ithin the ?!onfines@ of a by)no. <o .led$#ent of the #usi!ians@ respe!tive nationalities.D. . the soundin$ (out" of the e.ISTO(.ith an ar!hai! ele$ant perhaps sli$htly prissy aestheti! .or2#anli2e in the sli$htest it retains the at#osphere of surprise A of #a$i! A that $reat i#provisation is still so uniquely !apable of providin$ even .peri#ental possibilities .ith quiet and fo!ussed intensity. *n A. SC.el!o#e surprise.hi!h #i.ithin the field of ?ne.R"SC.plore e.5 5D4WI' .ith referen!e to the in!reased use of field re!ordin$s .ith the Welsh ?un dau tri@ in an a!2no.in itself quite an auda!ious lin$uisti! #ash)up this phrasal quir2 !o#es a!ross not as !lever) !lever inventiveness but as a $enuine and .tra)ordinary is not ?tru#peted@ blared)out . #usi!@A is the instru#entation.I55E. 0 G)-(+ *" Tracklist: seven untitled tra!2s (ersonnel: (arl 6ud.ithin this 2ind of quiet less obviously ?intera!tive@ 2ind of free i#provisation" #i$ht be possible but is probably not desirable& Davies@ and D3rner@s #eetin$ here doesn@t ?pretend@ to anythin$ (in a ?pretentious@ sense" and #i$ht perhaps be !onstrued as parti!ularly ?un)fussy@ even as it is part of a (per#anent" revolution in i#provised #usi! (.i$ 5^bs!h& tuba. CA..

%he #usi! ta2es on a ju#py rhyth#i! quality that persists despite the use of silen!e and #ore elusive ru#blin$s and s!rat!hin$s A indeed ho.ith neither <!hiller nor 5^bs!h playin$ their instru#ents in the !onventional #anner.plored to a $reater e.tent in the planned 'ele!tro)a!ousti! splits' series .ise a!ousti! quintet. (At various points the spinet is #ade to su$$est a $uitar a !elesta a prepared piano and a 2oto". +ndeed <!hiller's o!!asional use of plu!2ed strin$s has a sli$ht si#ilarity to %etu4i A2iya#a's a!ousti! $uitar on that sa#e re!ord.s and o!!asionally tappin$ and s!rapin$ in a per!ussive #anner.hat@s parti!ularly fas!inatin$ here is that the #usi! is entirely a!ousti! (thou$h perhaps the battery)po. %he tuba's ti#bral quality re#inded #e at ti#es of another re!ent i#provised albu# .the latter uses !ir!ular breathin$ #ultiphoni!s and his voi!e to !reate ru#blin$ drones $roans and !roa2s that he des!ribes as a 2ind of “#e!hani!ally)$enerated ele!troni! #usi!”.ever this re!ord is a lon$ .erhaps this variety !o#es fro# the fa!t that the tra!2s . (%his .hereas A2iya#a's playin$ is #ore obviously derived fro# the blues rendered slo.hi!h is the turn ta2en on the last t.ono#i! a fashion.hi!h .hi!h the duo $enerally avoid else.ill no doubt be e.ieldy la!2in$ variety and just too darn hard to play virtuosi!ally (thou$h Mau$han Willia#s' tuba !on!erto affords it an attra!tively per2y role and 5o.hi!h ele!troni! and a!ousti! #usi!s have #utually influen!ed ea!h other so that one !an play an a!ousti! instru#ent in an ?ele!troni!@ fashion and use ele!troni!s in a responsive ?a!ousti!@ . %he tuba by !ontrast provides useful botto# end ballast and !o#edi! quality in lar$er ense#bles (indeed it ori$inally filled the role subsequently ta2en by the strin$ bass in ja44 bands" but has not found #u!h favour as a frontline instru#ent A it's seen as too un. As one #i$ht e.fro# the purist 'period)instru#ent' s!hool of !lassi!al #usi!.here it is needed but never overe.ever ina!!urate this #ay be + li2e to thin2 of the last pie!e as the 'riff' tra!2 <!hiller's repeated fi$ures at the openin$ hintin$ at a #elodi! !o#pulsion .ed)do.ere re!orded at .n s2eletal and oblique <!hiller's bent and de)tuned notes do nonetheless have a !ertain blues quality to the#.ill be released on Another %i#bre in C9EE and C9EC.erhaps this is .” ." %hus . %he for#er #ostly !on!entrates on the spinet@s strin$s usin$ fans and e)bo. %hou$h a !ohesive .here <!hiller finally plays the spinet's 2eyboard at len$th.hi!h tra!2s .ard /ohnson@s i#provisin$ su$$ests a .ithin the field of ja44".in$ board joins an other. .ploitin$ it.hat 5^bs!h des!ribes in his liner notes& “ris2in$ e.ay.ered e)bo.hole the re!ord !ontains a nu#ber of distin!t perfor#an!es& the different pie!es are far fro# inter!han$eable.pe!t ho.and . .hole ran$e of relatively une.hi!h %oshi#arua Ha2a#ura's no)input #i.here.pressiveness .hi!h session an a#bi$uity that helpfully prevents one fro# tryin$ to divide the albu# in too ta.ard /ohnson .o sessions nine #onths apart (thou$h it@s not said pre!isely ." %he #ore per!ussive a!tive se!tions #i$ht be des!ribed as a sli$htly #ore subdued a!ousti! for# of #usique !on!rWte A eviden!e of the .ere re!orded in t.hi!h also features the instru#ent A ?<ele2tiv 5o$st@ by =obo2u <enju in .ay in . %here are indeed so#e surprisin$ ele#ents to this #usi! not least of .plored possibilities for it .ay fro# both Mau$han Willia#s and or 5o.o tra!2s . !ould be des!ribed ?ele!troni!@?" and yet sounds un!annily si#ilar in pla!es to drones and sounds!apes $enerated in a purely ele!troni! #anner.

for $radual develop#ent and !han$e A in 5^bs!h@s .a#ple <!h3nber$@s t.n a$ain.isten!e" ?Giles >.hile he plays #ournful slippery tones over <!hiller@s eerily slidin$ pit!hes in a tipsily #elan!holi! la#ent.A3WA.TO FA"". 0ar fro# bein$ a novelty re!ord (thou$h it #ay be the only tubaGspinet duo in e.IEJ [1] http&GGihate#usi!.O"E.elve)tone te!hnique.ICIANI < .php?f[KFt[8ELLFsid[9COeCff8OBCBOP9afBfCbKe9CbBBeO!8 . +f this is the sort of thin$ that@s !urrently available + see no need to fear for the ?<tate of +#provisation@ in C9E9.ays to build their pie!es never overly $arrulous never outstayin$ their . be!o#e ?established@ as an a!!epted #usi!al vo!abulary there are #o#ents on ?Giles >.@ .O"IN .here thou$h the stru!tural develop#ent of the pie!es is less obvious.@ is thou$htful en$a$in$ #usi!. 7lse.ho# !on!entrate on the sounds of e. *n tra!2 three #ean.o finds 5^bs!h ta2in$ the rhyth#i!al initiative throu$h e#phati! breathG#outhpie!e sounds& burbles .hi!h one #i$ht al#ost !all ?par for the !ourse@& for instan!e one !an i#a$ine the endin$ of tra!2 five as si$nalin$ refle!tive silen!e follo.topi!.halin$ rubbin$ and s!rapin$ or . %ra!2 t.ploratory $estures to fulso#e s.!o#Gvie.4 H N(--% B%+)-)C% ..noqua#.ords on!e a$ain to “let the #usi! $ro.here in perhaps #ore !onventional fashion both #usi!ians settle to$ether on a dissonant drone #ovin$ fro# sparse e.el!o#e but patient enou$h to allo.<tru!turally the duo find a nu#ber of .ho appear on Another %i#bre releases diverse as they are& a 2ind of !o#positional lo$i! that has developed out of playin$ as an in)the)#o#ent response to stru!tural dialo$i! and e#otional i#peratives rather than a pre)planned theoreti!al syste# alon$ the lines of for e.hispers and .ell and ba!2 do. Given that this lo$i! has no.” <u!h an approa!h has be!o#e !hara!teristi! of the #usi!ians . %here are also #o#ents of !ohesion .here one !an barely separate out the !ontributions of the individual players both of .histles that su$$est the hissin$ of strea# trains the distant blare of fo$)horns the breathin$ and pantin$ of ani#als.ed by applause at a $i$.

+n fa!t thou$h the overall effe!t is far fro# un$ainly& .ind and .e barely noti!e& heli!opters and air!raft dronin$ overhead en$ines at the very first #o#ent they be$in to splutter into life the !avernous breathin$ of vast industrial pro!esses.een rolls of lo.hi!h fill the ed$es of our t. %here is ho.tures not only to .or2s of say 1adu 'alfatti A sounds .ays it serves to free up a different 2ind of thin2in$ a #i!ros!opi! fo!us on the s#allest intri!a!ies of a parti!ular ran$e of sounds a deter#ination to $et in and really e.s !o#pare the ti#bres and te.hi!h both #usi!ians pay $reat attention to detailthe !on!entration on nearly sub)bass frequen!ies #i$ht see# li2e a li#itation . +t@s at on!e ?bi$@ A the basili!a a!ts as a $iant resonant !avern A and ?s#all@ silen!es pin$in$ out fro# in bet.een the sto#a!h $ur$les and spittle)!learin$ on ?+#aoto@ 'alfatti@s re!ent duo .hat #i$ht .hat $oes on in ?Hella Basili!a@ . +t #i$ht be helpful to thin2 of the instru#ents the flutes in parti!ular as a!ousti!ally)a#plified breath !ha#bers A in that sense these players both operatin$ at the ?van$uard@ of He.Ada$io. 'usi! are in fa!t $ettin$ ba!2 to those pre)histori! #o#ents .ard and 0abbri!iani had dis!ussed the “aestheti!s of ris2s and i#perfe!tion” in Hono@s late .ith su!h !loseness that 'assi#o 1i!!i !alls it “soni! voyeuris#”" the by)no. 0or this is a !ollaboration in .or2s beforehand and one #i$ht also #a2e a !onne!tion here to the role of ?a!!idental@ ?!han!e@ sounds in the . %here are no strea#s of notes or rapid)fin$ered virtuoso passa$es here.(olori di (i#abue.hat results fro# the !o#binations of sounds is a deli!ate even fra$ile .e have be!o#e a!!li#atised and .es.plore the fine details of .orld #ade up of sounds .ever a differen!e bet. %he se!ond tra!2 on ?Hella Basili!a@ is !alled ?Ada$io@ but ?ada$io@ is a ter# .eave in .hen #an first ble.hi!h 0abbri!iani and 5ay.1iflessione.hales (.hi!h breaths and the !li!2 of fin$ers on 2eys si$nal the hu#an ele#ent behind the #anipulation of these $reat behe#oths of brass and .IEJ As a result it has a 2ind of sleep) . (li!2s throat)!learin$ inhalation and e. *r at least .orld of fantasy and trans$ression but so#ethin$ #ore lu$ubrious un$ainly even.hi!h .hi!h . %his is a near sub)soni! .1obin 5ay. into a resonant obje!t to si#ulate e!ho have dialo$ue . sound barely)audible drips and $ur$les on ?(olori di (i#abue@ fun!tionin$ li2e the #ost #inute of paint fle!2s on a !anvas. + #i$ht add the #e!hani!al ru#bles .halation of breath are not part of the te. 5ay.ell apply to the entire dis!.ture as are the a!tual notes that he plays.ater.hat fills it A but are adopted to $o alon$side the ?purer@ tones by #eans of !ontrast and e#phasis.ard heard in their drea#s in their i#a$inations and had to invent instru#ents (the hyperbass flute and the #i!rotonal tuba" to reali4e in a!tuality.ard& #i!rotonal tuba Additional In&ormation: 1e!orded on the CPth <epte#ber C99: by <i#on 1eynell in the Basili!a di <an Do#eni!o Are44o %us!any.enty)first !entury hearin$ to . %his is to so#e de$ree a re!ordin$ of parado.ith =laus 0ilip (re!orded .ture as a 2ind of side) effe!t A leave a $ap and see .hi!h of !ourse it is but in other .Are44o (ersonnel: 1oberto 0abbri!iani& bass) !ontrabass) F hyperbass flutes.indeed a !ouple of other revie.hole #usi!al te.ith the natural sounds of .Tracklist: Hella Basili!a.hi!h #i$ht as .ind.here thin$s are #ore !ontrolled.al2ers@ surrealis# about it A not a bri$ht and $larin$ .hi!h are just as #u!h a part of the . fa#iliar sounds of ru#blin$ %o2yo traffi! on on2yo re!ordin$s and .histlin$ ho.hat #i$ht at first have been a!!idental or in!idental soon be!o#es a !ons!iously)deployed ta!ti!.hisperin$ .lin$ and . are a!!epted as #a2in$ lovely if alien #usi!" but to ?hippos #a2in$ love@.ho by no.

rote #e. And jud$ed on those !ounts ?Hella Basili!a@ really is a beautiful re!ordin$.hi!h it !an too easily be !onfused A it@s equally if not #ore so about dedi!ation !onstru!tion pla!e#ent fo!us.but beauty lies in #ore than just the t.er re$ister of the #assive hyper)bass flute !on!entrates on pin$in$ boun!in$ tones that have so#ethin$ of an under.ould nor#ally be o!!upied by a flute (.hile 0abbri!iani usin$ the ru#blin$ lo. *ften .ater quality to the#.as their first i#provisation to$ether".ard holds so#e lo.or2in$ .hi!h sounds al#ost throu$h)!o#posed.in2lin$ and pretty sounds .here sound be!o#es a supre#ely physi!al entity e.!o#G C9E9G9:G deep)!alls)to)deep.ay. Dou !an really hear the# playin$ off the spa!e 5ay.or2s fro# the $round up tossin$ off flurries of ideas se!ond)by)se!ond to !reate a ?bi$$er pi!ture@ #ade up of #yriad fra$#ents so this 2ind of slo.er that al#ost subli#inal territory . + suppose the dan$er here is that thin$s be!o#e too slu$$ish too #onolithi! too $ro.e a debt to 1eynell@s #i!rophone pla!e#ent ensurin$ that the e!hoes of the !hur!h spa!e translate into so#ethin$ that sounds just as full as presen!e and depth on a pair of headphones.nin$ yearnin$ yelpin$ strain that ta2in$ an instru#ent out of its nor#al ran$e yields" .ider level and #oves in pi!2in$ up on nuan!es and resonan!es to parti!ular sounds that !an only be a!!essed after #inutes of !arefully tea!hin$ oneself to listen in a parti!ular .lin$ly austere for a ?beautiful@ e.ithin and testin$ the li#its.n sounds that have sti#ulated #y fantasy@ he . But here there@s a real sense of that spa!e as a physi!al thin$ A for .hether .ard@s self)desi$ned #i!rotonal tuba o!!upies the hi$her ran$e that .ithno#outh)jesse.l starts off at the . ?+ have been able to reali4e absolutely the un2no.e surely o.they both have a si#ilar approa!h to spa!e an understandin$ of parti!ular #odes of overlap and a tenden!y to start stop pause and re)start in a near)unison .e value in #usi! .ith 0abbri!iani@s breathy trills and offset by the latter@s sharp plosive atta!2.hat he !ould already hear.ith .about .er!ase@ i#prov.e #ean 'iles Davis@ !areful pla!e#ent of notes or the silen!es that have !o#e to predo#inate in re!ent ?lo. +t@s that vibratin$ quality that $ives this dis! its po.e hear fro# the first notes of this albu# this !ollaboration is about e.hen !o#pleted by the !o##issioned !rafts#an enabled 0abbri!iani to reali4e . !losely attuned the t.istin$ on the ed$e of per!eption (the liner notes tell us that the hyperbass flute “!an produ!e sounds at the lo. ru#bles that vibrate at the ed$es li2e the drone of heli!opter blades .a#ple listen to the eerie #o#ent to.histles into the resonatin$ !hur!h.ith the sense of ya. %his is only possible be!ause of ho.est li#its of hu#an hearin$”" A those li#it states those real#s that aestheti! of ris2s and i#perfe!tion. " .ards the end of the first tra!2 .o #usi!ians are to ea!h other (even thou$h this . As . -4'2 IEJ “0abbri!iani told #e he !on!eived of the sounds before he had the hyperbass flute in handthe instru#ent .blo$spot.ard@s dronin$ shofar)li2e tones spreadin$ out s..ellin$ and !ontra!tin$ sy#patheti!ally #er$in$ .” (http&GG!ro. As a fine e.hile 0abbri!iani .perien!e.e tal2 about spa!e as so#ethin$ . /ust as hi$h)speed i#provisation .!han$e& 5ay.here 5ay.on !ursory listen see# li2e a !onstri!ted area of dull drones $roans and ru#bles.ht#l. !ra.hi!h .

eden EOth)C9th 'ay (E".D NA+AMD.TETDPI A+I3AMA< TOS.%oshi#arua Ha2a#ura& no)input #i.<e#i)+#pressionis# K Additional In&ormation: %ra!2s re!orded in 'ay C99P& G3tebor$ Horr23pin$ and G`vle <.<e#i)+#pressionis# C.R(++)&N)+M 5a0el& <pe22 .A 0 +(M)1)M.in$ board Tracklist: <e#i)+#pressionis# E. %hou$h they@ve been !ollaborators sin!e E::O %etu4i A2iya#a and %oshi#aru Ha2a#ura have not #ade #any appearan!es to$ether on re!ord A .Mienna C8th 'ay (K".elease 4ate: C99: (ersonnel: %etu4i A2iya#a& a!ousti! $uitar.<to!2hol# EBth 'ay (C".IMA.

.ay the #usi! on the (D and the . +t@s an approa!h to i#provised dialo$ue that see#s in!reasin$ly !o##on.ith sustained tones (the drones that #a2e up ?Weather <2y@ for instan!e" and also stands in sharp !ontrast to an even #ore re!ent re!ordin$ ?7$rets@ released on <a#adhi <ound.hether the #usi!ians #er$e their identities in a#bi$uous !o#binations of si#ilar ti#bres or e#phasise the separation and differen!e bet. Ha2a#ura@s ele!troni!s #a2e this into a . out ti#bres that contradict the $uitar line& a burst of parti!ularly shrill feedba!2 or puffs of s!ufflin$ rhyth#i!ally)un!ertain .een their approa!hes in star2 and un!o#pro#isin$ fashion they are not prepared to settle for the old .ell)established a!quaintan!e .hat they are doin$ into parti!ular self)!ontained approa!hes.ays of doin$ i#provised ?!onversation@.ever.een ea!h note and the len$th of the note itself so that there is little sense of ?pro$ression@ of for.er ele!troni!s@ s!hool" A inter#ittently shufflin$ and hesitant inter#ittently rhyth#i! and $ratin$ A A2iya#a@s $uitar as spa!ious inter#ittently .n ?1elator@. transitions and $eneralised !louds of sound rather than the sharp jabs spurts and fi44es .ould !o#e a!ross as ?noise #usi!@ (albeit not as ?in) yer)fa!e@ as the ?po. resonant stati! elon$atin$ both the ti#e bet.n allusions or stylisti! #ar2ers& the playin$ is slo.ere playin$ solo rather than to$ether A #u!h easier to divide .hite noise li2e so#eone breathin$ disjointedly and too heavily into a #i!rophone. fashion .orld of the ?avant)$arde@& it . +n !ases li2e this !learly an e.ay.edish per!ussionists 7ri2 (arlsson and 5enri2 *lsson .ords in the liner notes !o#ple#ent ea!h other sit alon$side one another but do not ne!essarily ?e. %his is true even if one is !o#in$ at ?<e#i)+#pressionis#@ fro# a .ith A2iya#a and as is the !ase on #u!h of that re!ord finds Ha2a#ura . A2iya#a@s a!ousti! $uitar #ean.ould li2ely e.ith <.).hole different 2ettle of fish ho.that is until the last year or so in . Ha2a#ura@s . %he latter in fa!t !ontains another duo .hi!h our listenin$ ears are trained.hi!h they@ve shared albu# spa!e on =obo2u <enju@s ?<ele2tiv 5o$st@ and on ?+n <ear!h of Wild %ulips@ a !ollaboration .hi!h A2iya#a has settled albeit in a s2e.ist in !o)relation rather than ?intera!tion@ A #u!h in the sa#e . Honetheless one feels #u!h of the ti#e that the t. Ha2a#ura@s !ontribution .hiff and ulti#ately rather disar#in$ fashion (the feedba!2 ti#bre is ever so sli$htly re#inis!ent of auto)tune".here he #ana$es to !reate a #elodi! pattern fro# his feedba!2 e!hoin$ and !o#ple#entin$ the repeated fi$ure on .ard #o#entu# or #elodi! and har#oni! ?develop#ent@.ith slo.ith the .or2 here is #u!h ?busier@ and #ore joltin$ than on so#e of his earlier .hile e#er$es as #u!h fro# A#eri!an #usi!s A blues and the ?fin$erpi!2in$@ of /ohn 0ahey A as it does fro# post)Dere2)Bailey i#prov $uitar. *ne #i$ht !hara!terise this approa!h as so#e.or2 .or2in$ in a #ore a#bient one #i$ht even say #ello.er!ise the sa#e thou$htful ulti#ately pea!eful effe!t as %a2u <u$i#oto@s ?*pposite@ or A2iya#a@s o.hi!h he favours here.rather than #er$in$ into the ba!2$round behind A2iya#a@s a!ousti! notes (ele!troni!s used as ?at#osphere@ as a sound effe!t sprin2led on top of the ?proper #usi!@" he insists on bein$ a full duo partner often see#in$ to deliberately !oa.plain@ ea!h other in a syste#ati! or obvious .ould be #u!h easier to $et a $rip on the #usi! if the #usi!ians .hi!h #i$ht be vie.hat austere but at the sa#e ti#e if heard solo this . %his is by no #eans his only approa!h and there is an odd #o#ent of ?dire!t@ dialo$ue on the final tra!2 . Honetheless these influen!es re#ain hints su$$estions rather than full)blo.ed as a !o#panion to ?<e#i)+#pressionis#@ featurin$ as it does quartet re!ordin$s fro# the sa#e C99P !on!ert tour.o #usi!ians e.a#ple of the se!ond ?#ethod@ the results !an be diffi!ult to $et one@s head round $oin$ a$ainst so #u!h of the rhetori! and tradition in .

hi!h they !an never quite brin$ the#selves to e#bra!e in a strai$htfor.ard #anner.E H &2(R+T(.orth working for.n <ean Booth& ele!troni!s Given the OL)#inute runnin$ ti#e and Aute!hre@s reputation as purveyors of ?diffi!ult@ ele!troni!a one #i$ht be te#pted to read the albu# title of this their latest release as su$$estin$ a 2ind of (over)"a#bition.pe!tations A to e..ilanders.n to e.#elodi!& a $entler a!ousti! for# of i#provisation.d)sho qub.%realeos vei. 'ore a!!urately ho. -4'2 ADTEC. %he results are often diffi!ult o!!asionally perple.ptCphP.ist at the sa#e ti#e ho.st epreo.*[9.ays ta2e the for# one has $ro.qplay.ell .elease 4ate: 'ar!h C9E9 Tracklist: r ess.hi!h the albu# possesses in abundan!e but also into phrases li2e ?out)of)step@ or ?#is)step@ A a 2ind of .hi!h they supposedly !ater and to . %hat@s not to say that Ha2a#ura and A2iya#a are not respondin$ to and !onsiderin$ ea!h other@s !ontributions just that response and !onsideration #ay not al. %hus the .K.Doup (ersonnel: 1ob Bro.ord ?*versteps@ #i$ht #orph into footballin$ ?step)overs@ full of the flashiness and tri!2siness .ever one !an relate the title to the duo@s !ontinued efforts to frustrate the ?dan!e #usi!@ i#pulse for .redfall.ever one has to thin2 on one@s feet to adjust one@s para#eters and e.pe!t if not dire!t !onfrontation an apparent la!2 of response as #u!h as overt !o)operation and re!ipro!ity.ays indebted but .n(E".see on see.2rDlon.+ 5a0el: Warp 1e!ords .hi!h they are al.in$ but . When these strands !o)e.2no.pe!t.

ays !ontains .ture.ard pro$ress& tra!2s see# to bleed into ea!h other too pa!2ed full of shiftin$ detail and si#ultaneous a!tivity to allo.it!hin$ nervous ener$y the industrial)!hi! of dated synthesi4ers and fu44y te.ithin itself the potential to fly off in nu#erous different dire!tions so#eti#es all at the sa#e ti#e A it@s beautifully poised bet.n set of tunes and rhyth#i! ji$$ery)po2ery A the ori$inal #elody $ets lost in the infor#ation overload.ay a$ain surrounded by lo. %he at#osphere is often do. in little spits and spurts of $lit!hy !o#puteri4ed interferen!e and #ena!e.athed in a#bi$uity the avoidan!e of any definite !on!lusion.ere the te.eavin$ and .een the# . into the e.rapped in an ele!troni! sheen that va!illates bet.ith.ed)do.hi!h #i$ht be !alled a#bient if they didn@t !at!h one so off)$uard.n al#ost !lun2y.ed by the disar#in$ $ood)ti#es vibe of ?d)sho qub@ (the albu#@s #ost opti#isti! tra!2 despite the interspersed distortions of rin$)#odulated 2eyboards and the transition into a !on!ludin$ se!tion .een ba!2$round at#ospheri!s and ?lead line@ in a 2ind of fo$$y ha4e.or the .tures . %his . Witness the .ay that the ?#ain the#e@ of ?ilanders@ is heaved out via $reat $rindin$ boo#in$ bass in!on$ruously ju. +t fades in on a loopin$ #elody surrounded by a bi$ boo#y e!ho that threatens to over.ith the# and openin$ tra!2 ?r ess@ is typi!ally hard to $et to $rips . And then of !ourse there are those !hara!teristi! Aute!hre 'elodies (a little re#inis!ent of Sappa@s fiendlishly !o#ple.t !ouple of tra!2s have passed A . one to entirely rela.n(E"@ has as its ?lead instru#ent@ so#ethin$ that sounds li2e a harpsi!hord or !lavinet .hi!h a!ts as ?!ounter)#elody@.hat sounds li2e a #is)firin$ atte#pt to play 89s 5a##ond *r$an ja44 and ?2no.hi!h insinuate the#selves .ay that the al#ost)!at!hy ?*[9@ is follo.trippin$ hesitatin$ stu#blin$ and fid$etin$ that see#s al#ost un$ainly.ith robot)beats and driftin$ fra$#ents of ele!troni! debris as on ?qplay@".ith .hee4in$ around just beneath the surfa!e or around the !orner of a see#in$ly per2y te.illin$ the#selves into the #e#ory.ould prove hell to sin$ or .hel# it blurrin$ the line bet.ith a lost)in)spa!e vibe". Aute!hre are not out to !at!h the listener by the throat but to play #ind)$a#es .#elodies that due to the sheer quantity of notes and the une.hat that e.perien!e but by the sa#e to2en too !o#ple.perien!e feels li2e& at points the !onstant rhyth# drifts off into an abstra!ted dull thud details blurrin$ to$ether even as the duo !onstantly thro.een broodin$ s!i)fi e!ho and $run$y rhyth#i!al i#pulses even shot)throu$h .arehouse party as refle!t ba!2 a .een t. des!endin$ .pe!ted $hosts of other $enres& ?%reale@ !ontains little bursts of .oo4ily hintin$ at a fun2 bent but never #ana$in$ to $et it to$ether as individual lines e!ho #ultiply and !ross over to !reate a rhyth#i!ally frustrated #ias#a. syn!lavier lines".ith a fearso#e lo$i! as they repeat over and over .treated fra$#ents of the initial #elody se!tion #ana$e to spurt out before qui!2ly splutterin$ a.ith their o.pe!ted !onne!tions bet. Aute!hre don@t so #u!h provide the soundtra!2 for a .ill prove !hara!teristi! of the albu#@s on. %his is #usi! that al.isps of tenderness (thou$h these #ay have to !o#pete .ed in +ssue C of this .histle alon$ to but . for easy absorption even if one does subje!t ea!h pie!e to !lose and !areful s!rutiny. When a dru# @n bass beat !o#es in it feels slo.ith the polished tin2lin$ of a !o#puter)$a#e soundtra!2 . <o#eti#es one hears the une.taposed .hines li2e the distant sounds of !ar alar#s or sirens and the fade)out is s.tures not so elegantly off)balan!e . <o that@s ?*versteps@& in !o#parison to the albu#'s rather bitty prede!essor ?Vuaristi!e@ (revie.ould do .arped version of . *r . *f !ourse by the ti#e the ne.nri$ht eerie ele!troni! !hoirs .

%o further e#bra!e the !ontinuity of the re!ordin$ the tunes .rison.6es %rousdu!iel.%he <2y Beneath 'y 0eet (ersonnel: (had 'a2ela& baritone sa. %he result is a re!ord that li2e the best of duo's . Get Around (see& +nhabitants F 0ond of %i$ers" on dru#s.#a$a4ine" Aute!hre's !hara!teristi! blend of $lit!h $roove and at#ospheri!s here attains a #u!h #ore satisfyin$ !ohesive flo.%hey Didn@t =no. %hey Were 1obots. All the !o#positions are %o##y@s so those of you that $ot e. -4'2 TOMM3 "A"IN7S "ENPENE H Y&*R B&.<2ye Broo2s& dru#s 6ed by bassist Babin this quartet !onsists of (had 'a2ela on baritone sa..R)+&N 5a0el: Drip Audio .Da#a$ed.t.as a <2y!lad !over !ould very . %he (D@s nine son$s are indi!ated on the !redits as bein$ part of a suite titled “Dour Body is Dour .ere re!orded in one)ta2e in order strai$ht off the studio floor.Y )+ Y&*R .%he %hin$ F +.rison ” and #ost of the son$s se$ue dire!tly into the ne...ell be disappointed.!ited thin2in$ that the tune The Sky Beneath *y #eet . .retty Boy 0loyd.(had 'a!Vuarrie& $uitar dru#s%o##y Babin& bass.or2 unsettles and entran!es in equal #easure.elease 4ate: C9E9 Tracklist: Dour Body is Dour .+nterlude.(iti4en =an$. (had 'a!Vuarrie on $uitar and on dru#s <2ye Broo2s a2a 'r.

onderful assort#ent of tones and te.)N%- .onderful ja44 if by ja44 you #ean anythin$ $oes. -T.hi!h leaves the bass rootin$ alon$ .ith Broo2s . '!Vuarrie $ets a . (iti8en Aang the fourth tune be$ins . +f there@s a .tures out his $uitar . %here@s no overall the#e or $enre bein$ e.ithout an overt relian!e on effe!t pedals and Babin@s bass plu!2ed throu$hout has a $reat .ithout settlin$ do. %han2fully there@s enou$h variation and !aden4aGsolo hi$hli$hts to $ive everybody a !han!e to strut their stuff.plored here A the title see#s to be a play on ?your body is a te#ple@ and the vinta$e pi!ture of the $entle#an about 8 feet in the air above his seat probably ta2en at a spiritualist or revivalist #eetin$ does lend a $eneral air of spiritual !on!erns but there@s nothin$ overt. %here are so#e la$s in the re!ordin$ A The Thing and I and .hi!h $ives the suite its title be$ins .2 COSOTTINI< ME5ANI< MIANO < (ISANI H C%R.hen Babin joins in the tune really ta2es off.ith a $reat sa.ith .n into any of the#.%he openin$ tune . While it@s not done at a brea2ne!2 pa!e or .. +t is .onderfully bu#py and ra#bun!tious bass solo and then .hiplash !han$es the quartet do $et a lot of #ilea$e out of four instru#ents.ea2ness it@s .ar# tone.ith a .Gdru#s duet .or2s into so#e very propulsive .ith the !hords and $enerally leaves 'a2ela the odd)#an out.hen the $roup sounds li2e they@re tryin$ to ?ro!2 out@ A the dru##in$ and $uitar syn! up and $et a little anthe#i! .or2 by 'a2ela A the baritone #a2in$ the quartet feel a lot bi$$er than it is and $ettin$ into 'in$us or Mander#ar2 territory A and all that ener$y !arries into the se!ond tune Damaged.rin$in$ a lot of out his 2it.es Trous de (iel #eander throu$h different se!tions .

1adi!i. An e.hen one player see#s to be ta2in$ the ?lead@ (in this !ase . %he !o#bination of tru#pet and bassoon has a burnished quality to it that #a2es for one of the #ost i##ediately attra!tive features of the albu# thou$h the all instru#ents in $eneral blend very . ?'a4es (ounterpoint@ is #ore !autious the instru#ents !arefully follo.ith o!!asional .indin$ #elodies short bursts of individual !o##entary !o#ple#entary phrases qui!2 responses and #inute interje!tions.#od E (ersonnel: 'irio (osottini. With the entran!e of dru#s providin$ an even stron$er rhyth#i! basis the other players start to diver$e fro# their path one by one .Andrea 'elani& dru#s 1estraint is the order of the day here but in a #anner that adds rather than ta2es a.elease 4ate: C99: Tracklist: Mo!ale.Alessio .n repetitive ele#ent to !reate an ense#ble #otor)rhyth#.hi!h rises the se!ond tra!2 ?Mento <alato@. As a result pie!es unfold throu$h slo.hat is presented.ith their o.5a0el: Gri#ediaG+#pressus .hile the faintest splash of Andrea 'elani@s !y#bals peers in at the ed$es in a !olouristi! rather than rhyth#i!al role.(ardinal/u#p)>)0un2.ill fill . %he horns stop leavin$ silen!e a short burst of dissonant piano and then silen!e a$ain out of .hi!h .then buildin$ a$ain over a piano that threatens thunder but never quite $ets there a !olle!tive !o#bination of yearnin$ slidin$ tru#pet and bassoon push the#selves into another silen!e.ell.ith tru#pet !ounter#elodies ea!h player pursuin$ his o. ends of the piano 2eyboard.n !ontribution.trapolative piano solo (the first ti#e . .'a4es (ounterpoint.isani sti!2in$ to lon$er notes 'elani@s tappin$s su$$estin$ a stron$er rhyth# than played in a!tuality thin$s endin$ as sea#lessly and quietly as before.e@ve heard any one player develop any #elodi! ideas at su!h len$th on the entire re!ord" follo.7.unison tru#pet and bassoon treat the si#ple doleful the#e to as!endin$ and des!endin$ voi!in$s not so #u!h !ushioned as $ently supported by piano !hords .the tin2le of bells and a short solo se!tion for per!ussion leads to freer i#provisations.Mento <alto. *n the re!ord@s title tra!2 a flo.s and !ontinues in freer vein over the return of the unison #elody. *n the first tra!2 ?Mo!ale@ thin$s are sparse linear and #elodi!.isani here plays the role of $ro. . ?/u#p)>)0un2@ belies its ja44 fusion title until ri$ht at the end of the tra!2 .ispy s!rea#s into nothin$.hi!h another .ill #a2e a short state#ent then leave a $ap .ay fro# the quality of .isani" another ta2es over the tru#pet assu#in$ pro#inen!e as it rises to a barely) suppressed s!rea#.in$ bassoon la#ent is peppered by ja44ily rhyth#i! tru#pet and by little rhyth#i! ru#bles !o#binin$ the e. %he #usi!ians are !learly very !areful about the ar!hite!ture of the #usi! so#e of .as !reated fro# $raphi! s!ores& one player .ays just .in$ ea!h other in linear introspe!tive fashion 'iano pun!tuatin$ his dis!ourse .ith a variation on this (osottini enterin$ .ith an al#ost baroque !hara!ter .isani& bassoon !ontrabasson%onino 'iano& piano.Bian!a.lin$ sna2e !har#er repeatin$ a phrase 'iano lo!2in$ in on piano . ?7he@ has a #ore ?stru!tured@ sound tru#pet and bassoon de!lai#in$ over repeated piano notes.hen the $roup suddenly lo!2s into a fir#ly)defined dru# beat.tru#pet.tre#e hi$h and lo.isani providin$ $rave !ounterpoint to (osottini@s tru#pet.7he. ?1adi!i@ bein$s .before that a !o#bination of lon$ silen!es unison #elodies and . But as al.

ithin those tra!2s into se!tions that are shorter still.#od E@ sounds li2e it@s $oin$ to be #ore overtly ?dra#ati!@ as the .in$ undue attention to hi#self.hi!h it returns.retty fili$ree piano fi$ures si$nal a quiet fadin$ a.s itself the lu.ith lon$ bassoon notes soundin$ over eerily sustained repeated piano fi$ures.hole ense#ble enter . %esta#ent to su!h an approa!h is the fa!t that ?(ardinal@ !ontains so#e of the quietest and #ost unobtrusive dru##in$ +@ve heard.and then nothin$ !an be heard.hole is far lon$er than that sy#phony it@s bro2en do.ith a sustained sound) !loud but Webernian piano su!!in!t and !rystalline dispels that notion.ury of sustainin$ any idea at too $reat a len$th that al.!hords that su$$est a barely)suppressed sense of !risis hysteria.'elani !ontributes si$nifi!antly throu$hout .ENT BJ H '%*NT(. -4'2 CD.fra$#ents !ohered into a .tiny s!rat!hes on the piano strin$s !an barely be heard.ays 2eeps thin$s on ed$e ea!h player holdin$ ba!2 so that the $roup as a .hi!h ?(ardinal@ rises and ba!2 into . %hin$s are if anythin$ even #ore introverted on the ne. %here@s also so#ethin$ intensely sad about the #usi! A (osottini@s tru#pet on the final tra!2 has the vulnerability of ?<2et!hes of <pain@& the #uted la#ent of thin$s said or half)said or unsaid interrupted and s.ithout the $randiosity. ?7. %he result of all this is that every note ta2es on a 2ind of i##ense dra#a& Webern on!e a$ain !o#es to #ind his sy#phony a 2ind of insanely)!o#pressed ten) #inute version of 'ahler .ay.hole !an benefit. %hou$h the re!ord as a . 'elani@s !ontributions are so subdued (and subtle" that it@s easy to for$et he@s there until a !y#bal splash or a bass dru# thu#p eases itself onto the ed$e of the aural field.n into shorter tra!2s and .. .ed up by the ever)present silen!e out of . <o#ethin$ .ith the quality of a funeral #ar!h e#er$es brea2s do.hole by the stren$th of the ense#ble intera!tion by the absolute fidelity paid to the prin!iple of listenin$ to others at all ti#es.t tra!2 . /%2(+3 M&2)NG GR%2(+ . ?(ardinal@ is a re!ord that often sounds beautiful but that never allo. %he #usi! is over.n a$ain.ithout ever dra.allo.

?5aunted Waves 'ovin$ Graves@ balan!es a si#ultaneous sense of half)a.here the !ello si#ply sustains a sin$le note a drone .and then the first $enuine !han$e of the entire pie!e as #elodi! piano repetitions join the s.tre#e slo.ave sounds into the se!ond tra!2 ensures an e. %ibet@s sounds!ape is #ore radi!ally slo.ei$ht@ than it appears" this is nonetheless a hu$ely !o#pellin$ listen.in$ the repetitive lo$i! of those .quisite yet al#ost painfully dra. Durin$ the first ten #inutes the pianoG.e hear the sound of brea2in$ .also as a OE)#inute (D.ei$ht a pie!e of #usi! !an find itself dro. in overlappin$ lines of sorro.tended #ini#al instru#ental .ful #onody .irlin$ .n out la!2 of pro$ression the !ello no.e $et is not a ?!li#a.tended period.elease 4ate: 'ay C9E9 Tracklist: <he is Ha2ed li2e the Water.or2 builds the diale!ti! of !onte#plative stillness la!2 of !han$e and !hest)fillin$ $rief la#ent .aitin$ to burst out into fuller and #ore a$$ressively an$uished e.Baby Dee Additional In&ormation: 1eleased as a li#ited)edition B9)#inute 6.hose .i#per!eptible !han$e too $radual to be effe!tively re$istered by our #inds so used to the never)endin$ on. +t all fades out so slo.and this is a tension on . %here are #o#ents .aves@ of the title" but this is than2fully left under)developed as su$$estion rather that i#position. the si#ple route of a !res!endo in .hen #ore (#ulti)tra!2ed" !ellos enter the #i.or2 that to #y #ind rivals in ter#s of both !on!eption and e.hisper fli!2 and lash round the ed$es of the sound) s!ape. Another ten #inutes .hi!h the !ello $radually assu#es pro#inen!e as a solo instru#ent thin$s drift in and out so that fore$round and ba!2$round are e. And + thin2 that@s .rote!tin$ Meil@ the pie!e to .ith (urrent :K for an e.hispers and or$an to inje!t a #ore hopeful feelin$ into pro!eedin$s.e!ution /ohn %avener@s ?%he . -4'2 .hispered voi!es (a (urrent :K staple" .ith the ru#blin$ after)e!ho of so#eone s!rapin$ the lo. 7ven .ness and la!2 of develop#ent.aves are louder than the !ello so that the #elody enters !ons!iousness al#ost indire!tly and rather than follo.hy + find this pie!e so appealin$ and yet disli2e the ?5oly 'ini#alis#@ of /ohn %avener or /a#es 'a!'illan to . A real surprise David %ibet@s latest offerin$ dit!hes the sun$Gspo2en esoteri!Ge!!entri! vo!als .hi!h it bears !losest rese#blan!e.!han$eable and #alleable the .or2 in a 2ind of illustrative !onte.as <pears (ersonnel: David %ibet.hi!h #i$ht nor#ally su$$est a pea!eful steady $round but here be!o#es so#ethin$ unresolved un!ertain.Andre./ohn (ontreras..hole .hi!h is in fa!t slo.@ but a se!tion that doesn@t ?$o any.hi!h it bears so#e affinity& there is a la!2 of reli$ious pretension a la!2 of pro$ra##ati! or e. tide. Hot so#ethin$ one !ould live .aves at first !o#bined .ly to breath)holdin$ silen!e A and then nothin$.ith every day (and perhaps in the end a little #ore ?li$ht. %hose .it is $enuinely and !onvin!in$ly #ini#alist #usi!.aves of so#ethin$ see#in$ly un!han$in$ .t (the ?haunted . repla!ed by tre#blin$ sustained or$an.ard rush of event and in!ident.nin$.ly #ovin$ erodin$ !han$in$ fro# hi$h to lo.pli!itly ritualisti! portent under .hether they@re field re!ordin$s or as see#s #ore li2ely ele!troni!ally)$enerated" #i$ht threaten to pla!e the .)#ovin$ #ore radi!ally event)less than %avener@s& throu$hout the entire OE #inute span of the dis! .hole pie!e follo.a2e lullaby)la#ent and a ponderous la!2 of ease.e@ve !o#e to asso!iated .pression. And the !ontinuan!e of the .)end strin$s of a piano set so#eti#es over so#eti#es under so#eti#es a$ainst so#bre ar!o !ello #elodies.hat .hi!h the .here@ as #u!h as hover in the sa#e soni! and har#oni! field for an e.5a0el: (opti! (at .ave sounds (. 6iles.aves .and in its sense of e.%he <ound of the <tor# .

hen su!h . band re!eivin$ .*ne.o Worlds.rite on their ..(ivili4ation of 'ud and 7#ber%he 0loor.Ho Abhor.Vasi# Haqvi& dru#s and toys +t@s unusual to see su!h a ne.4AWN OF MI4I H 4)R+T 5a0el: A!!retions . %here@s no point in .elease 4ate: C9E9 Tracklist: .hat see#s to be al#ost universally hi$h praise fro# the !riti!s indi!atin$ that .n of 'idi #ay not be re!eivin$ the ja44 press hype they perhaps deserve there is definitely so#ethin$ rather spe!ial $oin$ on here. 1ather this $roup has !o#e about at a ti#e .6aura 6ee.ebsite “+n the $lobal art #usi! settin$ one !an sense a paradi$# shift that .orryin$ .hether to !all this ?ja44@ or ?free i#provisation@ (thou$h all the pie!es are i#provised the vo!abulary often has a distin!t ja44 ed$e to it". As they .tural approa!h of free i#prov but prioritises neither.orries see# irrelevant .hat #atters #ost of all is the !reation of serious and en$a$in$ sound.ith quiet but purposeful bass and dru#s fro# Aa2aash +srani and Vasi# Haqvi soon joined by the piano of A#ino Belya#ani.%ale of %..5indu . %he re!ord opens .een (ersonnel: A#ino Belya#ani& piano.eda$o$y.+n Bet. %here@s no real sense of anyone ?soloin$@ as su!h.hile Da.hases in Blue.hen state#ents of intent !an be #ade throu$h #usi! rather than ideolo$i!al or theoreti!al pros!riptions.rather the three #usi!ians !ollaborate to !reate #usi! that !ontains both the #elodi!Ghar#oni! le$a!y of ja44 and the te.Aa2aash +srani& !ontrabass.Anne.

the tra!2s rise and fall dip and s. %his is a .hat has not yet !o#e to pass A i#parts a .” Without the stri!tures of !hord !han$es or the ?the#e)solos)the#e@ te#plate the i#provisations are nevertheless full of #e#ories fra$#ents .s is the #ost e.ay of ?#a2in$ it ne.a#ine the i#pli!ations of a #usi!al phrase that one #i$ht have overloo2ed in the $eneral develop#ent of the pie!e.here the distin!tions bet. What follo. .n.o Worlds@ there appears a #ini#al repeated fi$ure sounded . But this never de$enerates into a #erely banal !uoting of $enre.ards an appre!iation of ti#bre !olor and the silen!es that fra#e a #usi!al offerin$Q+n this a$e of #odern i#provisation .a#ple listen to the last tra!2 ?+n Bet.areness of the #yriad of possible i#pli!ations in everythin$ that they play. *ne is dra.n of 'idi e. 0or the ulti#ate e.n into this for!ed to e.ithout tryin$ too hard to do so& innovation by stealth if you li2e or innovation by de$rees .quisitely jud$ed use of spa!e bass and dru#s .veers to.e#plify is that that supre#e !ontrol $oes hand in hand .or2in$ in perfe!t tande# .ay throu$h ?6aura 6ee@ the piano suddenly introdu!es a #eltin$ly affe!tive #elan!holi! !hord .een bluesy insou!ian!e and so#ethin$ al#ost despairin$ pun!tuated by the da#pened dabs of a note sounded . +t@s as if so#ethin$ really lyri!al flo.n the vibrations fro# the strin$.een@ .hat +@ve said so far and it@s perhaps best to dis!over the various te!hniques and variations D*' spin throu$h real ti#e listenin$ rather than after)the)fa!t !riti!is#.ith the !reation of e#otional states. %his su$$estion of .isps of $enre of #usi! heard and absorbed by the players.onderful sense of openness. sounds and dis!overies.pe!t but shorter than a fully)fled$ed ?silen!e@.@ .ay before you !an pin the# do.art). Whi!h shouldn@t lead to the usual a!!usations of ?!erebral@ and ?intelle!tual@ #usi! as opposed to #usi! fro# the heart fro# the $ut A . 'id).hat #i$ht have been A an allusion to . +t@s a .plorin$ A and then even before the sustain)pedall@d e!hoes of that !hord have faded a.hat Da.een different #usi!s is re!o$ni4ed as the 'ackground to the !reation of ne.hi!h !hoi!es are #ade at every turnyou !an hear the players thin2in$ this #usi! throu$h as they are playin$ it. %his is #usi! tied to the #otions of the body and the #otions of the #ind. %hat said + . + #ay not have been very spe!ifi! in .ay Belya#ani starts repeatin$ a note not quite ha##erin$ not quite featherin$ it.it@s as if the players have suddenly de!ide to 4oo# in to fo!us very !losely and spe!ifi!ally for a !ouple of #o#ents and one reali4es that this !ould happen at any ti#e one reali4es the trio@s $reat a.hile the fin$er !la#ps do. on rather than a burden or hindran!e.in$ son$)li2e is about to e#er$e but is da#pened bro2en up for!ed ba!2 under$round.ell to dra.hi!h feels perfe!tly appropriate thou$h it doesn@t obviously arise fro# the territory the trio has just been e.ay throu$h tra!2 five ?%ale of %.ill note so#ethin$ that happens quite a lot on the re!ord& an e#phasis on detail one note or #inute phrase bein$ returned to a$ain and a$ain all the develop#ent o!!urrin$ in variations of tou!h.ith a !ross bet.ay #ovin$ a.ith the traditions of the past as a ri!h .orld of possibility in .een #usi!al nor#atives are blurred D*'@s the#ati! and ti#bral approa!h is re#inis!ent of #any $enres bound in one si#ultaneous #o#ent.ith Belya#ani@s odd pauses . %here@s nothin$ flashy or self)!ons!iously dra#ati! here.instead the 2inship bet.hi!h are lon$er than the #o#entu# of the #usi! #i$ht lead one to e.here a .

3 'D3 0 M*-T)T*. -4'2 4IAT.e !an e.pe!t $reat thin$s.pour les ho##es du port. 5o.ne plus avoir peur des #onsters.un peu plus rou$e. *n!e this len$thy se!tion finally finishes and the (D ends so#ethin$ still see#s to han$ in the air A the silen!e itself turned into #usi! by . the #usi! .!orrosion du possible.I"ES Q "A.ill tell but on the eviden!e of this auspi!ious debut re!ordin$ .ill restart on D*'@s ne.e.elease 4ate: C9E9 Tracklist: le $rand jeu finan!ier.ith the faintest taps and splashes a tran!e .sin$le piano note (and then a s#all nu#ber of alternatin$ notes" sounds out a$ain and a$ain for #inutes at a ti#e bass and dru#s $radually boilin$ and bubblin$ underneath a !hord in the other hand supportin$ but never fully developin$ the s!ant #aterial all !reatin$ a 2ind of #o#entu# throu$h stasisand finally a #editative quality the piano re#inis!ent of tollin$ bells the bass plu!2in$ understated !ounter)#elody dru#s .ith off)!entre rhyth#i! a!!o#pani#ent.d@in!ise& laptop obje!ts.t release only ti#e .le poids des hu#eurs.K .hat pre!eded it.( 5a0el: !aveEC .il (ersonnel: barry $uy& doublebass.(yril bondi& dru#s per!ussionsbenoit #oreau& !larinet on no..

orld for #inutes at a ti#e turnin$ his double)bass into so#ethin$ see#in$ly other than itself playin$ at the e.eb of trio sound #eshin$ .rather he leaps ri$ht on into their .a!tly is doin$ . the# ho.ith the 2ids in order to sho.hat. Barry Guy is perhaps the ideal partner for this duo never ($rand"standin$ out as the ?spe!ial@ invited $uest the ?.n path in !on!ord (and so#eti#es dis!ord" .tre#e hi$h re$ister of his instru#ent to $hostly effe!t turnin$ the strin$s into tuned per!ussion th.ith the !rea2in$) door sounds e#er$in$ round hi#.ith ?obje!ts@ in rustlin$ s!rat!hin$ tu#blin$ fi$ures !o#ple#entin$ and !ontrastin$ .and fro# that to un!ertain plu!2in$ resonan!es al#ost re#inis!ent of 2ora #usi! raindrop)deli!a!y $radually) e#er$in$ rhyth#i! ru#ble #es#eri!ally attra!tive but never safe al.hi!h they use in su!h a .a!2in$ and stru##in$ the# #ovin$ fro# stran$e jer2ed)out blurts to sharp dartin$ ripplin$ .here Guy is playin$ sequen!es of held notes fi$ures that rise slo.een . Diatribes by !ontrast desire to run rin$s round ea!h)other in a s!intillatin$ qui!2)silver !hatterin$ so#eti#es !latterin$ overlappin$ dialo$ue that blurs the distin!tion bet. on #etal . it@s done. Honetheless .e #ustn@t for$et Benoat 'oreau@s !larinet on the third tra!2 ?!orrosion du possible@& ho.here to #orph into so#ethin$ else A even into a strai$ht) for.ith Guy@s hi$h bass !ir!ular)breathin$ bird) t.ho@s dei$ned to play . ar!o s!rape (?ne plus avoir peur des #onstres@".eavin$ te. And Guy is not the only $uest.ith the other #e#bers of the ense#ble.ith the re!o$nisable dru# playin$ A yes the re!o$nisable dru# playin$ that does appear throu$h all the thi!2et of ?s#all sounds@ thou$h in little eddies s!urries flurries rather than in bi$ rhyth#i! state#ents.ly up the !lef only to des!end ba!2 do.aves slidin$ ar!o under everythin$ .ays liable to disappear so#e.hereby instru#ents tend to re#ain as dis!rete units ea!h pursuin$ their o. %hey . And then fro# that he@s i##ediately into the al#ost unbearable tension of $ri#ly)dra$$ed lo.hen thereby !reatin$ a . 6isten to tra!2 four ?pour les ho#es du port@ .ay that it !an be very hard to tell .hile ele!troni!s #er$e .it@s joltin$ly bra!in$ly #obile full of interlo!2in$ and inter.hole .Diatribes despite their na#e are not the type to #a2e shouty #usi! #usi! of pole#i!al over)state#ent.ay into the franti! .ith an al#ost i#per!eptible near) #elodi! ru#ble before dissolvin$ into har#oni!s that #er$e .ho e.hat they !reate is far fro# laid) ba!2 or quietist.tures and a!tions that avoid the #ore linear unfoldin$ of #u!h ?7uropean 0ree +#provisation@ . What results is a 2ind of #usi!al border re$ion .n li2e a si$h of resi$nation A fi$ures that possess the #ost subtle #elan!holi! flavour but are played so quietly they !an barely be heard over bla!2s#ith@s for$e !lan$s and s!rapes. tre#blin$ $roans !reated fro# the fri!tion of bo.lin$ open not s#ooth or #ellifluous as in the !lassi!al repertoire but al#ost !ho2in$ its .eetin$.or2 on the interplay bet.orld fa#ous@ ?veteran@ i#proviser . squa.2in$ throu$h pier!in$ tinnitus of barely)audible laptop !y#bal .horl.ild as!endin$ lisps@ and slo.here per!ussion stret!hes out to taut drone)li2e sounds ?.ho@s spea2in$ and .hose parts !an never quite be disentan$led fro# ea!h other.een the per!ussive and the ele!troni!& (yril Bondi is no#inally a ?dru##er@ D@+n!ise no#inally plays ?laptop ele!troni!s @ but both e#ploy nu#erous per!ussive ?obje!ts@ .ard tappin$ rhyth# and so#ethin$ approa!hin$ a si#ple #elodyU (?un peu plus rou$e@".. .

n sa2e ($i##i!2ry".instead the 2nu!2les .ay the #usi!ians creep up to !li#a. #ana$ed to !reate a #usi!al spa!e .in$.hi!h deserves A no de#andsU A that you see2 it out and hear .re$arder la !roi. fo!uses #ore and #ore deeply on .insou!ian!e apparentesX!heresse en pXriphXrie.!ouloirs obliques.here the usual har#oni! or #elodi! . *r to put it #ore si#ply& ?'ultitude@ is a flat)out brilliant dis! .hat is happenin$ A as volu#e in!reases as the $roup lo!2 into a parti!ular rhyth#i! or har#oni! area .here the #usi! itself has a vitality that #iti$ates a$ainst any loss that #i$ht result.and for this they really should be listened to. 5i$hly re!o##ended.o#nipresen!e.so#nolen!e R <osnovie!.orries and !onstraints frequently just do not see# to apply and .$ruenre2order.de.hiten as one $rips the ar# of one@s seat #ore and #ore !len!hes one@s ja. %hey have so#eho.R quelques ora$es d@intervalle.trente ans en trois heuressX!heresse plantXe en plein !iel.elease 4ate: C99: Tracklist: le flXau . plutbt que la pouter.Despite the freneti! quality of su!h se!tions one #i$ht feel that the #usi! tends to understate#ent as a . .hole A an in!orre!t assess#ent but one that's possible be!ause of the . and fresh A thou$h this has not !o#e about throu$h a deliberate pursuit of novelty for its o. Diatribes have found a very spe!ial ..es (if one !an !all the# that" refusin$ to si$npost the# as or$as#i! risin$ shouts.. -4'2 47INCISE H +5C'(R(++( .-%NT(5 (N .la vie i##obile (ersonnel: D@+n!ise& field re!ordin$s ele!troni!s Additional In&ormation: Available in a li#ited (D)1 edition of B9 fro# .ay of intera!tin$ !reatively a spontaneously)$enerated for# that does see# to possess so#ethin$ $enuinely ne.ith an intensity that@s al#ost harro.hat it has to say.-()N C)(- 5a0el: Gruenre2order ..

the sour!e of these re!ordin$s ho.ould never be possible in a so!ial !onte. ?refle!t@ a personal dile##a an e#otional trau#a or so#ethin$ as inno!uous as a train passin$ under a tunnel? %o pose su!h questions in the first pla!e is an . a !risis at the end of tra!2 si.s one into its flo.riter@s in#ost thou$hts (those he !annot tell others" #i$ht provide a!!ess to the !ore of that person in a .at the ed$e of this ?a#bient@ #usi! is so#ethin$ troublin$. of pri#ary ele#ents . +t offers nothin$ !on!rete.oland a year before the albu# .hat to e. D@+n!ise . Whereas a .hi!h ni!ely !aptures the re!ord@s sense of dread of a !risis about to happen or the faintest e!hoes of one that has already happened a lon$ ti#e a$o yet lin$ers on still the $rubby tra!es of the past i#printed on the #ind.un!ons!ious thou$hts sudden tra!es of #ove#ent $li#psed out of the !orner of the eye $hosts stal2in$ the !orridors disappearin$ round the !orner. <i#ilarly the #usi! is e. %ra!2 P is entitled ?sX!heresse en pXripherie@ A ?drou$ht on the periphery@ A . throu$h the repetitive quality of its EE tra!2s . All they have to $o on is $uess.t this audio diary refuses the narrativi4in$ at the heart of the . %his #usi! is #ore about at#osphere than #o#ent)to)#o#ent intera!tion and !han$e thou$h that@s not to say it s2i#ps on detail& ho.hi!h are stru!tured around beats or dronin$ synthesi4er loops.s under stones the va$ue outline of a spindly bush. %he result A for this listener at least A is that one !annot entirely surrender oneself to the sounds.A solo proje!t fro# D@+n!ise (of Geneva)based i#provisin$ duo Diatribes" 6<X!heresse .ith the very notion of re!ordin$ A a sound played ba!2 days .ounds !an be stit!hed upA but the s!ars of #e#ory are less easy to heal. And #e#ory is an i#portant fa!tor here A D@+n!ise !reated these sounds!apes fro# field re!ordin$s #ade in the (4e!h 1epubli! and .hi!h !ontinue throu$hout the pie!e and s#aller spurts bu44es hisses A sa#pled sounds that disappear al#ost as qui!2ly as they e#er$e. 0ield re!ordin$s abstra!ted fro# their sour!e voi!es and !rea2s and !lan2in$s A a station announ!e#ent the sound of #ovin$ transport the !ra!2le of a li$hted #at!h A ne$ate the re)assurin$ equivalen!e of sound to so#ethin$ parti!ular in the .alls ruined buildin$s !an be rebuilt .ee2s #onths years after the event has lost its !onne!tion to . %he !over art $ives a $ood indi!ation as to .ever abstra!ted and #usi!2ed they have be!o#e his listeners do not have that privile$e.ay at the last #o#ent.ever it dra.a pro#ise of ?si$nifi!ation@ offered by the field re!ordin$ aspe!t is li2e a !arrot dan$led in the air al.hile he hi#self #ay 2no.ritten diary #i$ht pretend to offer up its .orld turn it into so#ethin$ that de!eives that e!hoes that !an@t be pinned do.or2.hat ori$inally produ!ed it has be!o#e an e#pty e!ho in te!hnolo$y@s endless playba!2 A the natural has be!o#e the syntheti! the i#itation the refle!tion. <tains !an be s!rubbed fro# .ays pulled a. Do the su$$estions of a !li#a.lantXe 7n . %he effe!t !an be unsettlin$ thou$h it !an also be playful broodin$ perhaps even #elan!holi!.everythin$ is shiftin$ elusive.pe!t& fle!2s of li$ht e#er$in$ at the ed$e of spreadin$ stains of dar2ness on the one hand and on the other lands!apes flooded by an oran$e !loud of dust that renders only the s2et!hiest details visible A the shado.erhaps this is so#ethin$ to do .ritten diary leavin$ only the va$ue sense i#pressions the va$uest feelin$s.ay that .lein (iel@ shares so#ethin$ perhaps of that jittery s2itterin$ s!rabblin$ ele!troni!s and per!ussion set)up but only as an ele#ent on the periphery of its overall #usi!al vision.n.pertly !onstru!ted out of a #i.rites& “this albu# is so#ethin$ li2e a blur travel diary se!ond readin$ ” and a further layer presents itself here& . (an one trust one@s sense? What is one bein$ told throu$h these sounds? .as !o#posed in Geneva.

hi!h in fa!t has a stron$er !onne!tion to ?si$nifi!ation@ A in the #anner of the fra$#ents one !at!hes fro# a radio station.. What D@+n!ise a!hieves here is so#ethin$ #u!h #ore interestin$.in2lin$ ?riff@.IS CO.SANO 0 ). (4'2 (AD5 4DNMA55 < C. %he field re!ordin$s are not used in the #ani! !olla$e)sa#plin$ fashion of so#ethin$ li2e (. 1ather they see# to have been interiori4ed into the very heart of the #usi! inte$rated into and even $eneratin$ its te.+*N+(T+ .ould be usin$ field re!ordin$s as just another ele#ent in a va$ue a#bient .hale son$@ or ?rainforest tranquillity@ (Ds you #i$ht find in an 7n$lish $arden !entre.tural and rhyth#i! stru!ture& quietly !lan2in$ and !li!2in$ loops su$$estions of !hildren@s voi!es pi44i!ato strin$s a double)bass a t. <pen!er Deh@s ?%he <tran$ler@ . %he dan$er in a proje!t su!h as this .ash of sound A li2e the ?.(NT)C%.error A it is to funda#entally #is!onstrue the pro!esses of this ?diary@.everythin$ su$$ested nothin$ revealed.

.ophone. debut for both perfor#ers.rin$in$ the life out of so#e border pipes.ell and play in si#pati!o apin$ ea!h other only in for!e and #a$nitude. %hese pipes are related to the traditional <!ottish pipes but as Wi2ipedia tells #e are not as loud or rau!ous.ith te#po and fero!ity as both perfor#ers #at!hin$ ea!h other@s jabs .near the end the audien!e hoots and hollers in a$ree#ent.ith aplo#b A li$htin$ fast rolls !y#bals and snare s!attered about li2e an old #an on a par2 ben!h feedin$ pi$eons.aul $iven his previous dallian!es . 1e!orded live in April C99P at the <la2 Bar in (heltenha# 7n$land ?+denti!al <unsets@ is the 7<.aul Dun#all@s !areer is deservedly into its fourth de!ade. .ell as so#e #o#ents of heartfelt #elody.5a0el: 7<.ith #any >= $reats su!h as Barry Guy Danny %ho#pson and 7lton Dean and in the $roup 'uji!ian .roof.aul other than the openin$ tra!2 sti!2s .ild#an . -T.aul and (hris play .ith a very #ini#al 2it A a fe. (hris joins in for the ne.aul 1o$ers. %he short)ish openin$ tra!2 is Identical Sunsets has Dun#all .#ost notably about a quarter of his dis!s have been the result of a lon$ and fruitful partnership . .Better Get Another 6i$hthouse.ighthouse opens .orth of a!tivity A al#ost E99 re!ordin$s .ith so#e $enerally restrained sti!2 .6ivin$ . %hese t. %hou$h just #id).or2 fro# (hris but it@s only a handful of se!onds before the velo!ity ra#ps up and .. While the franti! playin$ !an $ive the i#pression that they@re both soloin$ and just happen to be near ea!h other they respond to ea!h other@s push and pull.aul 0laherty.2 .ipes are not a passin$ fan!y for .aul@s tenor hysteri!s and a!robati!s . !y#bals F hi$h)hat about t. By #ost a!!ounts (hris $enerally plays .hat ain@t bro2e.o #a2e a $reat pair. Dis2 .hi!h is just fine as you don@t fi.ith his tenor and e#ploys a variety of te!hniques and approa!hes A it@s not just rapid)fire runs or s2ron2 but everythin$ in bet.ith the# #ost notably C99K9@s <olo Ba$pipes on his Duns 6i#ited 7dition label.ith his breadth and depth he@s !o#pletely at ho#e in the free i#prov and fol2 !a#ps havin$ played .elease 4ate: C9E9 Tracklist: +denti!al <unsets.*ut of <i$ht (ersonnel: .aul Dun#all& border pipes tenor sa.een as .ith sa.ith everybody fro# the Mibra!athedral *r!hestra to /ande2 Bj3r2 and #ost #e#bers of <oni! Douth.t tune .not that you@d thin2 the border pipes are quaint and dainty after that tune. .ith the sa#e intent and vi$or.(hris (orsano& dru#s Additional In&ormation: 1e!orded live at the <la2 Bar (heltenha# 7n$land April C99P .iving Proof and #at!hes . Better Get nother . %he tune dips and rolls .ay throu$h his C9@s (hris (orsano has already had a lifeti#e@s .o to#s snare and bass A and he $ets everythin$ out of it. .aul then leaps on the #usi! already in full fli$ht.ith =eith %ippet %ony 6evin and . 3ut of Sight !arries on #u!h of the sa#e .

elease 4ate: C9E9 G Tracklist: (inna#olo$us.ME..per!ussion. H B(+T)%R)(+ 5a0el: (athnor G .Do#ini! 6ash& bass .(AT.IC+ FA.Bonna!on G (ersonnel: .ard.atri!2 0ar#er.< 4OMINIC 5AS.

er.!o# A he lists his o!!upation as approa!hin$ dru#s .2 .ternal pro!essin$.ar2er.hen!e this re!ordin$ presents the questions that you need to ans.ood s2ins strin$s" to $et the te.atri!2 0ar#er is an *.ay into the Cnd tra!2 before you hear the first 're!o$ni4able' notes fro# the bass ) solid but rubbery pi44.tures rustlin$s and va$ue sounds presented.after that #ental e.ards !areful attention.ith a spotted !oat and .hether it #a2es its nest out of a !inna#on sti!2s. -T. But still the #ind does reel thin2in$ .hat travelers thin2 they sa. %han2fully !ran2in$ your spea2ers . or heard fro# the lo!als durin$ lon$ travels to forei$n lands and so#e turned into fodder for (hristian sy#bolis# alle$ory or fable.ith an ad#irable list of !o)perfor#ers& /ohn %ilbury %he 5unter Gra!!hus and (hora.hi$h)profile and re!ent $i$ #ates in!lude %ony (onrad /oe 'orris /ohn But!her and 7van . Double)bassist Do#ini! 6ash is one of the #ain a$itators in the *.ho #ade .ford +#provisers is very prolifi! in $i$s F re!ordin$s and has several standin$ $roups in!ludin$ the Do#ini! 6ash %rio. %he three son$s of this re!ordin$ are ea!h na#ed after su!h beasties& a !inna#olo$us is a bird that lives in a !inna#on tree ) reports vary as to ho.a bonna!on has horns li2e a ra# and e#its dun$ that it !an laun!h a $reat distan!e and .hat@s been hit tapped dra$$ed !ru#bled !rin2led #oved or vibrated a!ross .hi!h burns on !onta!t. nasty the bird . But the three son$s are suite)li2e as the end of Bonnacon !o#es to a !lear and obvious risin$ !li#a.a pard is a !heetah)type ani#al .ill probably not result in any per#anent da#a$e as the sounds here do not have sava$e pea2s. +t@s up for debate if this #usi! requires rapt attention or !an be allo.ed to fade into the ba!2$round thou$h there@s a $eneral !o##ent on . %he e#phasis here is on sound not #usi!.ithout dru#s.ith $ood spea2ers to !at!h all nuan!es.atri!2@s blo$ to listen to the audio .o very patient #enand the payoff for approa!hin$ 'Bestiaries' li2e. (learly these are t.ith a lion apparently a leopard is the offsprin$. Given the e#phasis on non)traditional sounds here tryin$ to as!ertain . %his re!ordin$ is their first release is all a!ousti! and has no e. Dou@re a third of the . . At that point this re!ordin$ is entirely !aptivatin$ and re.blo$spot.ise is !onsiderable. that puts a pun!tuation #ar2 to the #usi!al senten!e of this entire re!ordin$.on his blo$ A http&GGideasatta!hedtoobje!ts.er!ise has been abandoned it does free one@s #ind to just listen.A bestiary is a 'edieval !olle!tion of fantasti! beasts A the des!riptions are based on .ford)based per!ussionist .as and .hat sound is pointless.hat variety of surfa!es (.hen she #ates .

At ti#es the $roup sounds li2e an an$ryGa#ped)up Godspeed Dou Bla!2 7#peror at ti#es they #ello.<hanto Bhatta!harya& bass.n.2<epte#ber E8th C99B.>pheaval (ersonnel: /. 1o#an!e.2@'ats Gustafsson& sa.'is!.<andro . (arter& tru#pet.Mita#in 'eatha.o $uest stars .(ontinent F Western. out li2e %ortoise but by still #ana$in$ to straddle the instru#ental line bet.tures.'or$an '!Donald& piano. and ele!troni!s.erri& vo!als on ?Mita#in 'eatha.<2ye Broo2s Dan Gau!her& dru#s %his band is the je.erri providin$ lyri!s and vo!als and 'ats Gustafsson brin$in$ his sa.el of the Drip Audio !ro. 0or this re!ordin$ they pull in t.een post)ro!2 and n^)pro$ it@s no surprise that the band has been . As usual odd ti#e)si$natures and spasti! rhyth#s abound.<tephen 6yons& vo!als on ?>pheaval@ $uitar./esse Subot& violin.FON4 OF TI'E. (arter (also heard on %he +nhabitants" on tru#pet violin played by Drip Audio hon!ho /esse Subot dru##ers <2ye Broo2s (+nhabitants F %o##y Babin@s Ben4ene" and Dan Gau!her and <hanto Bhatta!harya on bass A and !ertainly offers up enou$h a##o to provide a ri!h sour!e of te.S H C&NT)N(NT 6 /(+T(RN 5a0el: Drip Audio .Grandad. 6ed by $uitarist <tephen 6yons the septet line)up hasn@t !han$ed A 'or$an '!Donald on piano /.ophone F ele!troni!s on ?Grandad@.ith sin$le)tra!2 appearan!es by <andro .elease 4ate: C9E9 Tracklist: <oheb.

Granted this is not #usi! that allo.A.obble and then heads into a ti$ht se!ond se!tion.ails a.Al#ost (o#prehensible.?th% 455B@s piano intro qui!2ly $ives .hen one of the dru##ers is layin$ on the tuned per!ussion.A.everybody 2ne. 1pheaval features a fe.as !lear then and on this dis! that they #ove as a $roup A on sta$e there .histlin$ of the #ain riff of the openin$ tra!2.4IN' < (. and ethereal vo!al !o#es in. %he intensity is !onsistently hi$h even .ith jui!y her2y)jer2y riffs and bubblin$ bass that are the foundation for so#e $uitar and tru#pet leads before it starts to .ord)free refrain at its !lose.hi!h provides the #ost vis!eral sounds of the entire re!ordin$ and ends .ever it .ith the pro$ra##e.ere no ro!2 pretensions or posturin$.dubbed ?post)everythin$@.as not reassurin$ not to #ention the sound in the lar$e !hur!h base#ent that played host. %he lon$er son$s are suite)li2e .tures they've put on this re!ordin$ and there's nary a .istful note.asted #o#ent.IC.ith so#e loneso#e .hi)#usi! G .hil 5ar$reaves& soprano sa.ith riff)based se!tions that usually !ontrast . -T.een bein$ as harsh as 0o% !an $et and so#e quasi)1ei!hian phrasin$. flute voi!e . A $eneral la!2 of obvious solos is refreshin$ but #ost instru#ents have their turns at bein$ in the fore$round.as .they@re happy to lo!2)step or $roove at ti#es even $ettin$ into so#e lovely #ini#alis# espe!ially .ith Gustafsson@s squel!hes and tortured ele!troni!s before he .or. stan4as of lyri!s sun$ by 6yons and an al#ost sin$)alon$ .Mernal.s for rando# noodlin$ but everybody stu!2 . An ele!troni! hu# in the ba!2$round at the be$innin$ lends a distin!tly lo)fi vibe to Vitamin *eathawk before <andro@s #ello.=iril..elease 4ate: C9E9 G Tracklist: 7verythin$ .ay .ith the band as support.ith the variety of tones and te.the tune then devolves into a sha#blin$ i#prov . Sept.A. Sohe' opens .ossible.2 .the slo.<tone'ytish!hi.'.A.Water in a Dra$net G (ersonnel: 1i!hard 5ardin$& !lassi!al F ele!tri! $uitar. %hey@re not ja44 but !ertainly ja44y as the e#phasis is on the !ollaborative aspe!t of the #usi!. .ith their prede!essor. vibe of this son$ ends the re!ordin$ on a refle!tive and . 5o. 0ond of %i$ers are a $ood ti$ht band.ay to an$ular and #e!hani!al riffin$ that varies bet.EA:ES H GR%C*-*+ 5a0el: .4 .<ilver 6ost its Malue.I5 . Grandad opens . their part and stu!2 to it. + !au$ht the band at the Guelph /a44 0estival in @9P and the !haos of all the #e#bers on sta$e .

5o. 1i!hard is a !lassi!al $uitarist (and #usi!al dire!tor for the 6iverpool Guitar <o!iety" but he@s not afraid to o!!asionally run his !lassi!al or ele!tri! $uitar throu$h effe!t pedals.ebpa$e of . %his re!ordin$ is available for free via . Both perfor#ers are based out of 6iverpool. %he spi2y letterin$ on the !ase and a pi!ture of .een De! @9P and De! '9:. While not quite the free)for)all that + anti!ipated the #usi! is en$a$in$.hil 5ar$reaves@ band!a#p pa$e A http&GGphilhar$reaves.hil plays soprano sa.ith !li!2s and pops fro# the soprano sa.hi)#usi!.een those passa$es and #o#ents of subdued playin$. %he bird is a $re$arious s!aven$er an opportunisti! o#nivore.+2AC. and so#e rapidly #uted or #uffled notes fro# the !lassi!al $uitar and alternates bet. %he #usi!al equivalent . fa#ily.the $uitar see#s to be $enerally set the tone as to ho. Durin$ so#e of the quieter #o#ents on this dis! the #usi! !an $et a little #otionless..ere sele!ted fro# re!ordin$s #ade in a variety of venues bet.2 .ould be that anythin$ $oes. .ht#. H un .ith so#e tasteful $lissando !hords on the $uitar . and a total runnin$ ti#e of an hour" the #usi! .ebsite.o instru#ents depart for #utual e.ED-S.o !o#in$ in under B#in.ith the !lassi!al resultin$ in the #ore ponderous tra!2s.ith a several passa$es of very fren4ied !lassi!al. As indi!ated in the liner notes these tra!2s . flute and voi!e and has been a!tive for #ost of the last de!ade playin$ .!o#G albu#G$ra!ulus ) as . -T..hil and 1i!hard@s heavily pro!essed ele!tri!.ith its su!!essor Airil .hi!h then be!o#es the ba!2$round for the sa.A $ra!ulus is another na#e for a ja!2da.hat loo2s li2e <hiva an$rily playin$ a theorbo did #a2e #e bra!e for an onslau$ht.hil@s label Whi 'usi! A http&GG. lmost (omprehensi'le is the e.as half the len$th (: son$s .ill be .ith <i#on 5 0ell .ell as the .ever the #usi! here is $enerally on the !al# and quiet side.or2 fro# .!eption .. 5o.!o.aul 5ession and others.ever if it . band!a#p. fero!ious the #usi! . )or opens .ith only t. %he openin$ tra!2 &verything was possi'le be$ins .ploration..ould be t.i!e as interestin$.u2G!atalo$ue. a #e#ber of the !ro.this is one of the stron$er tra!2s on the (D alon$ . before the t.hi!h has adventurous $uttural voi!e .hard)!opies are as also available for pur!hase via the .

A $radual rhyth#i! interse!tion bet. <till the bass dru# provides a !onstant tread A pro$ress to.a!tly that . A little s.hirlpool of squealin$ and s!rat!hin$ that tri!2les out to near)silen!e as the #usi! rea!hes a #o#ent of quiet stasis $uitar and bass dru# at on!e rhyth#i! and i##obile a slo.quatre (ersonnel: D@+n!ise& laptop obje!ts. *ften #usi! is des!ribed as ?physi!al@ or to do .ell of !hi#in$ per!ussion representin$ a te#porary in!rease in volu#e soon fades to the previous hush .irlin$ ha4e on!e #ore pro#isin$ so#e sort of !li#a.l and the #usi! for!es the listener to hold the#selves in suspense to avoid #ove#ent to quieten their breathin$ even to hold their breath at on!e desirin$ to be lost .as& as the des!ription above indi!ates this i#provisation (for despite the tra!2 divisions it is really one pie!e" doesn@t .hat e. %he first tra!2 is stri2in$ pre!isely be!ause it doesn@t $o for i##ediate pun!h)to)the)$ut i#pa!t.instead (ha$rin plu!2s out the sa#e !hord over and over e#phasisin$ the softer sonorities of his instru#ent thou$h .there@s a fra$ility here unders!ored by the little s.deu.$uitar in a fu44y s.but then dyin$ a.ards a $oal or #ar!hin$ on the spot? Astill per!ussion rises and rin$s out no.are that at any #o#ent it !ould !han$e.ay bet.ay leavin$ that !li#a.een the !ra!2s lost in the #usi!@s tenden!y to quietude. 5is dis!rete $rainy approa!h is soon re!o$nisable fro# .ho !o)leads the duo Diatribes .98.ith a s#atterin$ of feedba!2.hat !a#e before.een $uitar and laptop a!!entuated by bass dru# lends the #usi! the air of a slo. ?deu.ith ?the body@ .n on!e #ore dru# repla!ed by i##obile $uitar then by silen!e.n heartbeat.hisperin$ overlappin$.ith s.ith si#ilar han$in$ al#ost inert $uitar sounds D@+n!ise !reatin$ a #ini). +t@s hard to say .ed !y#bal s!rapes.5a0el: %est %ube .irls and !roa2s but dippin$ ba!2 do.ithin that $roup A lo.ithin a free)i#provisin$ duo for#at..trois.'ar!el (ha$rin& $uitar bass dru# Additional In&ormation: 1e!orded live at %ivoliE8 Geneva C8. With $reat patien!e and fidelity to the #ood the duo don@t let this happen& the #usi! re#ains on the threshold of inattention and it@s possible that at any one #o#ent it !ould see# either totally absorbin$ or frustratin$ly reti!ent dependin$ on ho. ?quatre@ is the first tra!2 not to have at its heart the $uitar sonorities laid out at the very be$innin$ of the dis!. to slip a.ly passin$ funeral #ar!h. And yet there is a definite sense here of so#ethin$ have been ena!ted the beautiful hush of the final silen!e providin$ eviden!e that all around has so#eho.!ept that the ritual !ere#onies are heard as if throu$h the fu44 of a se#i)sleepin$ state.hen it de#onstrates a !ertain quality of ?ener$y@ a !ertain 2ineti!is# or .or2in$ on!e a$ain . #u!h one is ena#oured of the prevailin$ sonorities (everythin$ is still underlain by that near)stati! $uitar".@ opens . in a !res!endo the #usi! i#per!eptibly be!o#in$ louder .ed)do. <tru!2 sin$in$ bo.or2 on narrative or linear ter#s see2in$ instead to arrest the# in a 2ind of ti#elessness even as its beatin$ bass)dru# and repeated $uitar are a !onstant re#inder of pulse of heartbeat those !losest and #ost unavoidable physi!al si$ns of ti#e passin$.e.elease 4ate: C9E9 Tracklist: un. beatin$ ele!troni! sonorities laid over a pri!2ly bed of $lit!hes and !ra!2les alon$side a!ousti! rustlin$s squel!hin$s and pier!in$ bo. throu$h an in!rease in volu#e.ith per!ussionist (yril Bondi (and nu#erous international $uest artists" . rubbed !onta!t)#i! sin$le)note plu!2 A .ispy .instead #usi!)bo.ithin the sound and a.ith #ore soft !hi#es addin$ so#ethin$ of a te#ple at#osphere.ay into !hatterin$ a!tivity.irls of feedba!2 a sense that the ele!troni!s !reatin$ this !al# !ould soon run a. been transfor#ed by .C99: %his release finds D@+n!ise .

ould see# to !ontrast sharply .ual vibran!y .yearn for !ertainty (ersonnel: <abir 'ateen& sa.a2enin$ or slo.on@t do& #editation the trans!enden!e of the body !o#es first throu$h an intense !on!entration on so#ethin$ bodily (breathin$" and perhaps ?un@ is li2e that initial sta$e 'efore the trans!enden!e of the body but after a radi!al slo.ly a.hile 'ateen@s sa.OO+E. T.#a$istrait.ould say" se.elease 4ate: C9E9 Tracklist: in$ratiated bea# A leroy. ?in$ratiated bea# A leroy@ finds <panish)style #andolin unders!orin$ 5oo2er@s re!itation of a self)!o#posed poe#.pe!t this release to be strai$ht)up free)ja44 but the at#osphere is frequently inti#ate full of spa!e silen!e !larity of line #elodi!is#.in$)do.n and !on!entrated fo!ussin$ of !ons!iousness.an$ i##ediately !onjures up blue$rass asso!iations .Willia# 5oo2er& dru#s spo2en .hi!h . -4'2 WI55IAM . But that si#ple opposition . <oldier@s banjo t. ?!entury@s soles@ finds 5oo2er playin$ a steady al#ost stately beat.IO H Y(%RN 4&R C(RT%)NTY 5a0el: 7n$ine 1e!ords (7<.(so#e . %he result is a 2ind of physi!ality)throu$h)stasis#usi! that .an openin$ that pro#ises to $ive thin$s ti#e to unfold rather than burstin$ strai$ht into the roo# openin$ fire .ly fallin$ asleep.ord *ne #i$ht e.!entury@s soles!o##onpla!e travel.ophone flute !larinetDavid <oldier& #andolin banjo violin.ith #a!hine)$un blasts.ophone provides #elodi! !o#ple#ent only .ith the dis! under !onsideration.)Dis2" .or2s on the lo$i! of breathin$ the lo$i! of risin$ and fallin$ !ons!iousness of slo.a protra!ted suspended lullaby a thin$ of $reat patien!e and of $reat beauty.

hat is this fun2 a$ain? .6et Douth Be <erved..*ver it Be$insWhat About the Water?.in$ tra!2 ?#a$istrait@. After the se$ue 'ateen soon heads for the stratosphere of altissi#o frea2out in thrillin$ si#ultaneity .here is this entertain#ent #ode?” And then he@s ba!2 in .A"ITANTS H % 2%C%NT -&T 5a0el: Drip Audio G . %he i#pression here is of so#ethin$ held in to !he!2 so#ethin$ about to brea2 out A serene #a$isterial (as the title su$$ests" but .Whistlin$ .hi!h transfor#s itself into a held note and silen!e.Dave <i2ula& $uitar.ith dru# thunder <oldier in hi$h spirits plu!2in$ a. 1ather than buildin$ into another frea2out 5oo2er $oes alone shi##erin$ . 5oo2er@s for!eful spea2in$ voi!e jer2s us out of our i##ersion in 'ateen@s bird)fli$ht as he as2s& “.it!hes to violin ?yearnin$ for !ertainty@ a $ospel)tin$ed #elody risin$ in and out of $run$y .a!ifi! (entral G (ersonnel: /.averin$ fi$ures buttressed by nervous silen!esand no. <oldier s.es as <oldier and 'ateen lin2 into drone)li2e fi$ures.ith the 'ahavishnu *r!hestra.elease 4ate: C9E9 G Tracklist: 0ar A. !lassi! ?Bla!2 Bein$s@ thou$h perhaps a little ?spa!ier@ here A and it@s that spa!iness .ass.ay on his banjo 'ateen@s hon2in$ sa.ith breathy liquidity. 5oo2er@s undulatin$ !y#bals threaten to !reep up to !res!endos li2e .<2ye Broo2s& dru#s ./ourney of the 6oa!h.hat@s to !o#e on ?!o##onpla!e travel@.ith passionate dedi!ation eventually lo!2in$ into a unison sa.%hrees. it@s 'ateen@s turn on !larinet du!2in$ and divin$ dippin$ and .ay in *ld Worlds.!han$es bo#basti! po.ay to the follo.ete <!h#itt& bass.ith a suppressed $rippin$ tension. pu#pin$ up the volu#e A a 2ind of deliriously poly)rhyth#i! free ja44 hoe)do.o!!asionally thro.n that brin$s thin$s to an inspired and joyous !lose. A sin$le !y#bal shot A silen!e A and another follo.Gviolin #elody state#ent .e and ?%he Wi4ard@ (1ay#ond 6ee (hun$" on the 7<. *ne of the #ore unusual free ja44 releases of re!ent years this re!ord e. 'ateen spins round <oldier@s tre#olo .ah and distortion the #elodi! base for i#provised fli$hts at ti#es brutally ele!troni! at others tin$ed .or2 .er)play for so#ethin$ less easy to !lassify and possesses !onsiderable !har# as a result.ah). sits ba!2 as 'ateen@s flute trills and . -4'2 IN.ith the sa#e ra$a)ro!2 spirit as /erry Good#an@s .aves rollin$ up to their entran!es their !rashin$ !li#a..in$ in so#e free ja44 shrie2s that hint at .arbles .hi!h #a2es it .eavin$ <oldier@s stru##ed #andolin on!e #ore i#partin$ a 0la#en!o flavour 'ateen be!o#in$ shriller the stru#s #ore insistent 5oo2er@s dru#s !o#in$ to the fore on!e #ore alon$side shouts of en!oura$e#ent the frequen!ies of his bass dru# $ivin$ his playin$ an al#ost #elodi! flavour.ith <oldier@s ele!tri! violin A the !o#bination re#inis!ent perhaps of 0ran2 6o. (arter& tru#pet.ed by a bass)dru# thud A silen!e A 5oo2er introdu!es rolls into pro!eedin$s A and no.

6i2e so #any Drip Audio bands t,o of the +nhabitants !o#e fro# 0ond of %i$ers see#in$ly the ur)band fro# ,hi!h the label sto!2s its roster. +n this !ase it@s <2ye Broo2s on dru#s and /; (arter on tru#pet ,ho share the band ,ith t,o non)0ondians ) ;ete <!h#itt on bass and on $uitar Dave <i2ula (,ho@s in the duo (arsi!2 ,ith /; (they have a C998 self)titled release on Drip Audio" and also in a trio ,ith <2ye". What you@re $ettin$ fro# the +nhabitants is not that far off fro# 0o% just not as ti$htly ,ound and $enerally do,n)te#po. Whi!h in this !ase is not a bad thin$. While bein$ a bit slo,er #i$ht brin$ fears of relentless pu##ellin$ there@s enou$h spa!e bet,een the instru#ents and rhyth#i! variation ,ithin those spa!es to $enerally 2eep thin$s fresh. +t@s al,ays ni!e to hear a band ,here the perfor#ers don@t feel that every se!ond needs to be !ra##ed ,ith a!tivity. And bein$ instru#ental it@s than2fully not just pointless noodlin$ or histrioni!s in solos that de#onstrate a ,hole lot of nothin$. %his is riff)oriented stuff A not the n^)quasi)pro$ that has been re!ently resurre!ted but they are into the post)ro!2 pool and at ti#es on the ro!2)side of fusion. >nder#inin$ any atte#pts to pi$eon)hole the +nhabitants e!ho enou$h $enres to 2eep thin$s interestin$. (<pea2in$ of e!ho ,hat did start to ,ear on #y ears ,ith this re!ordin$ is the ever)present delayGe!hoGreverb on the $uitar or tru#pet that at ti#es rea!hes into self)os!illation. 5o,ever the ,a2e of that parti!ular soni!tiy does result in so#e propulsive !hurnin$ that provides a ,onderful ba!2$round ,ash to fill the spa!e." %he tune are all $ood and solid. Threes and 9hat a'out the 9ater have a ni!e 7(') era Bill 0risell vibe ,ith the $uitar@s ,obbly $uitar !hords and volu#e s,ells. As to the pro$)tin$es three of the tunes are !lo!2in$ in over : #inutes but that@s for$ivable here. ;et Fouth Be Served stands out not only as sole up) te#po son$ but also for the squel!hin$ and $lit!hin$ served up as the intro and outro- the only other s#atterin$ of a qui!2 te#po is the #iddle se!tion of 3ver It Begins. Best riff a,ard $oes to the $uitar F tru#pet har#ony se!tion that starts about half),ay throu$h 7ourney of the ;oach. As a ,hole& loose but not sloppy refle!tive but not borin$. -T;2 +I44 KO,4AN< KOE5 FDTTE,MAN H )NT(R%CT)&N

5a0el: <elf)released ,elease 4ate: C9E9 Tracklist: ;art +- ;art ++ (ersonnel: /oel 0utter#an& piano- 7d,ard '=idd' /ordan& tenor sa.ophone Additional In&ormation: Available fro# ,,,.joelfutter#an.!o#

0or the first fe, #inutes of this dis! 0utter#an es!he,s a verti!al for a hori4ontal approa!h- he plays no !hords !hoosin$ rather to en$a$e ,ith /ordan in overlappin$ and e!hoin$ lines that thrust the#selves for,ard in thrillin$ #o#entu#. %he effe!t is al#ost verti$inous i#partin$ the #usi! ,ith a real sense of speed. %hus thou$h !hords ,ill !o#e into the pie!e (often disar#in$ly beautiful ones that usher in #e#ories of the $reat histori!al spe!tru# of ja44 ballad playin$" it's these sin$le)note forays and volleys all over the !lefs that first stand out. (Althou$h in fa!t ,hen the notes are played in su!h qui!2 su!!ession the effe!t is al#ost li2e that of a !luster()!hord" parti!ularly ,hen !o#bined ,ith pedallin$. <o #aybe the initial distin!tion doesn't hold quite as fast as one #i$ht first suspe!t." Who's leadin$ the !har$e? At ti#es it feels as thou$h it #i$ht be 0utter#an providin$ prods po2es sti#uli- but then a$ain /ordan ,ill frequently ta2e hold of one of 0utter#an's su$$ested dire!tions and $o his o,n ,ay ,ith it laun!hin$ into brief una!!o#panied !aden4as or bra,ny #ultiphoni!s that de#and a de.torous and dissonant response. %he #usi! follo,s no overall set pattern- it is very #u!h 'in the #o#ent' ,ith $reat variations of te#po ti#bre and e#otional e.pression virtually every #inute. %hin$s flow% ho,ever- ea!h ne, se!tion arises out of that ,hi!h pre!eded it even if the transitions #ay not al,ays be those ,hi!h one #i$ht have e.pe!ted (and that's the beauty of su!h i#provisation". /ordan is one of those 'elder states#en' of the free sa.ophone his presen!e see#in$ even #ore valuable $iven the re!ent death of 0red Anderson. 5e therefore has laurels he !ould so easily rest on& but lu!2ily for us he doesn't ,ish to. +ndeed the !o##it#ent he's $iven this #usi! throu$hout his !areer has not dissipated but perhaps $ro,n even 2eener- he reali4es that he has so #u!h to say to sin$ throu$h his instru#ent and sadly less ti#e to say it than before. But ,hat results is not so#e an$ry shout a$ainst #ortality- si#ply he ,ill #a2e the best #usi! that he !an in the ti#e that he has. 5ere his playin$ is frequently arresting% the parti!ular intonation a!!ent or !urve of a phrase (so#eti#es even just one note" soundin$ out ,ith the for!e of a !o##and ) “you there sit up and ta2e noti!eU” ) not throu$h sho,boatin$ not throu$h virtuosi! display for its o,n sa2e but throu$h for!e of !onvi!tion (,hi!h #ay not be a te!hni!al ter# but is the only ,ay + !an thin2 of to !onvey the po,erful effect" and a #asterful !ontrol of ti#bre. '5on2s and !ries' #ay be part of the vo!abulary of every free ja44 sa.ophonist but /ordan's upper re$ister ,or2 in parti!ular has an al#ost palpable ra,ness to it that re#ains startlin$. 'i$ht this #usi! #ean less to the listener if they had not listened to the spe!tru# of ja44 tradition as these t,o #usi!ians !learly have? %he intera!tion on display is probably e.!itin$ and enthrallin$ enou$h for even a non)ja44 fan to appre!iate but a sense of history of the livin$ !ontinuan!e and re)shapin$ of tradition in the no, is !ru!ial too. ;layin$ su!h as this en!oura$es A perhaps even de#ands A that the listener brin$ a si#ilar !o##it#ent to the table that

they pay attention to ,here the #usi! is !o#in$ fro# as ,ell as ,here it's $oin$& for both are e.!itin$ vital pla!es. -4'2 +I44 KO,4AN< KOE5 FDTTE,MAN < A5:IN FIE54E, T,IO H -)2( %T T'( T%M,(R( 7%88 '%,(NN)NG 2999

5a0el: (harles 6ester 'usi! ,elease 4ate: C99L Tracklist: <even >ntitled %ra!2s (ersonnel: 7d,ard ?=idd@ /ordan& tenor sa.ophone- /oel 0utter#an& piano soprano sa.ophone +ndian ,ooden flute- Alvin 0ielder& dru#s per!ussion

0ieldler #a2es the openin$ state#ent on tin2lin$ ,atery fle.atone then provides a sparse but e.pertly pla!ed a!!o#pani#ent to the ,ei$hty slo, tread of the piano@s plu!2ed bass strin$s 0utter#an alternatin$ these ,ith squalls of hi$h)pit!hed sound fro# an +ndian ,ooden flute. +t@s a patient beautifully dra,n) out introdu!tion its slo,ness belied by the i#pli!it tension pa!2ed ,ithin it A for $iven the ?fire #usi!@ pro!livities of su!h a ?spontaneously !o#bustible@ $roup su!h a subdued #ood !an@t last lon$. And indeed as 0utter#an s,oops fro# piano strin$s to piano 2eyboard 0ielder sprin$s ri$ht in into the resultant rush of notes his ti!2in$ !y#bals providin$ a !onstant patter ,ith one hand ,hile his other hand is free to provide pun!tuatin$ ,allops and !rashes fro# the rest of his

A fine e.hi!h #ay lead into fully)fled$ed #o#ents of ja44.ays to fo!us on .s out an i#pli!itly lyri!al side to /ordan@s playin$ or . %he for.ith e.n e!hoin$ variations.hen his brief roll of lo. =idd /ordan is there too of !ourse his sa. .hen three #usi!ians are pursuin$ their o.here he@s #at!hed by /ordan@s har#oni!s" then slidin$ ba!2 do. *ne #i$ht des!ribe this as the #usi!al equivalent of t. 0utter#an has brou$ht out his soprano s#earin$ and slidin$ out sounds the brief silen!es bet.ith an intense sole#nity.less that they are not re!o$ni4able until the !han$e is !o#pleted and suddenly .rites in the liner notes “%ransitions .".t (a pro!ess that@s not e.ith the soprano 0utter#an s.ard . se!onds before flyin$ to the upper rea!hes of the 2eyboard (.a#ple of the latter o!!urs ten #inutes into the third tra!2 .een the notes heavy .a!tly ho.a!tly linear $iven the super)i#positions that o!!ur .e are a.ophone bar2in$ and leapin$ as he !areens over the full ran$e of the instru#ent fro# blasted lo.hat is happenin$& the listener #a2es their o. dire!tion. 0utter#an is an equal partner rather than a!!o#panist but he displays a truly sy#patheti! supportin$ tou!h as .hat has $one before one #i$ht be surprised that thin$s !ould so suddenly !han$e dire!tion yet this is by no #eans an isolated o!!urren!e.ith 0ielder@s bass dru# .illin$ to $o the distan!e . notes to verti$inous upper)re$ister hollers. %hirteen #inutes in the band have so#eho.n a$ain to those sta!2ed)fourths then ba!2 to super)fast s!a#perin$ runs then ba!2 to the fourthsQAs su!h inadequate des!ription su$$ests it@s virtually i#possible to provide a #o#ent)by)#o#ent analysis of e.n individual paths".ay in the final throes of a sustain)pedalled drone)li2e tone but the applause that si$nals the ne. As +2e 6evin .n journey throu$h the #usi! so#eti#es 4eroin$ in on parti!ular details #ethods of intera!tion and types of transition so#eti#es on the quality of tone and ti#bre so#eti#es on the variety of rhyth#i! develop#ent and so#eti#es on the har#oni! su$$estions . But just be!ause these nuan!es !annot be !aptured in print does not #ean that they !annot be pi!2ed up the attentive listener the listener .pe!tation of the ne.ith the #usi!ians to a!!ord the #usi! the full and !o#plete attention it deserves.t phrase then filled .ithin the #usi!al journey itself are so s#ooth and fla.are that the !o#position has ta2en a ne. As /ordan !o#es in to briefly duet .assa$es su!h as these indi!ate the a real ja44 pedi$ree& the $roup do not abandon ja44 but ta2e it out to its fullest potential #indful of su!h !lassi! attributes as s.” A piano solo fades a.here 0utter#an plays sta!2ed fourths for a fe. se!tion. Given the hi$h volu#e and pa!e of .2it.it!hes ba!2 to piano the #usi! suddenly bluesy and pa!2ed . the #usi! !han$es fro# one thin$ to the ne. %here are #any . lo!2ed onto a ballad feel.o runners on a tra!2 one fra!tionally behind the other A thou$h here the #usi!ians are not so #u!h ra!in$ in !o#petition as runnin$ together in !o)operation (even if the non) stop ever)!han$in$ nature of su!h spontaneous #usi! requires that they possess a !o#petitive runner@s speed of response and refle.hen he !hases /ordan@s #elodi! fi$ures .in$ the blues and individualisti! virtuosity but un!onstrained by har#oni! or rhyth#i! i#peratives.hi!h su$$ests Hative A#eri!an #usi! in ti#bre if not pre!isely in rhyth#i! ter#s.ho is .ith his o.t tra!2 on the (D is pre#ature for this is essentially a !ontinuation of the sa#e pie!e rather than an entirely ne.er)re$ister !hords dra.

ell as his fin$ers see#s to refresh hi# for his ne.ever #a2e the #usi! ?ina!!essible@ for the #usi!ians@ playin$ is al.s another allo.hether the te.hether they have thinned out so#e. +n relation to this one #i$ht note 0utter#an@s de!ision to e#ploy soprano sa.#o#entu# that drives the i#provisation for.ard at all ti#es allo.MAN< I+E 5E:IN H .)%-&G*(+ 6 C&NN(CT)&N+ .erful #usi!ian.s no brea2 in !on!entration and is #oreover driven by a palpable sense of ne!essity.tures A but 0ielder@s perfor#an!e follo.hi!h provides a very different te.s for no !han!e of a return to previously)played the#es no over)ar!hin$ #elodi! #aterial to tie thin$s into an easily)!o#prehended stru!ture. -4'2 KOE5 FDTTE. as . %his does not ho.tures are dense or .e let sounds si#ply drift into the ba!2$round of our daily a!tivities? %hat just .t bout at the 2eyboard rather than tirin$ hi# out as it #i$ht have done to a less po.in$ on fro# 0utter#an@s furiously intri!ate hi$h) speed solo on the fourth tra!2 is never less than absorbin$. +t@s that 2ind of re!ordin$& every #o#ent #atters and the $roup see# to have tapped into so#e sort of !olle!tive reservoir of ener$y that never on!e threatens to run dry. 5o. ?=idd@ /ordan /oel 0utter#an and Alvin 0ielder for!e us to listen to their #usi! and re.ith so#e of the finest i#provised #usi! of the ne.ard us .ell as piano .ill not do here.ays totally en$a$in$ bu44in$ . +n free ja44 dru# solos !an so#eti#es si$nal so#ethin$ of a ?brea2@ after the hi$h)volu#e full)ense#ble te.hi!h one idea follo. %his perfor#an!e #ay have been re!orded ten years a$o but it !ould have been #ade yesterday su!h is the vi$our and freshness of the playin$ and the total i#pa!t of the #usi! that is #ade. *n!e the listener really starts fo!ussin$ on . #illenniu#.ith ener$y and invention . ?6ive at %a#pere@ is a very spe!ial re!ordin$.hat.er!isin$ his lun$s as .tural an$le on the #usi!e.ith .hat is happenin$ durin$ any $iven se!tion they have to stay for the !ourse for the sea#less speed . often do .

ophone bass !larinet soprano sa.onderin$ s#ile. A stret!h of solo piano A hypera!tive bass a!!o#pani#ent re!urrin$ !hords fleet) fin$ered ja44 phrases and #elodi! fi$ures interrupted by #ore dissonant e.ards the end of the tra!2 his playin$ is underpinned by 0utter#an@s tollin$ bell)li2e lo.arts E)B" (ersonnel: /oel 0utter#an& piano and !urved soprano sa.plorations A !ues in 6evin on tenor on!e #ore the #usi! ta2in$ on an ur$ent tone as brief de!la#atory state#ents #ove into passa$es of !lose shado. this i#provised !ollaboration .5a0el: (harles 6ester 'usi! .e hear here is not only a !ase of sharin$ and e.(onversation C (.o) handed boo$ie).n.ed as if fin$ers .oops $ivin$ .ay to ja44)derived playin$ via a repeated phrase .er notes .to.terity in all ran$es of the 2eyboard is a !hara!teristi! of the pianist@s . 0utter#an points out in the liners to his E:PC trio date . 0utter#an ta2es another solo frau$ht ru#bles and s.oo$ie.ophoneA the different personalities and approa!hes of the t. %hin$s be$in . As on that release the #usi!ians here turn on a di#e bet.ithout !o#pro#isin$ either@s individual inte$rity and unique identity.ard ?=idd@ /ordan.or2in$ .ophone Additional In&ormation: 1e!orded Ber2eley (alifornia De!e#ber Bth C99: /a#es <ie$el@s !over desi$n A an eerie quasi)(ubist photo asse#bla$e .ith 6evin on tenor. duo this ti#e .6evin pi!2s up on the !olouristi! !han$e and adds equally eerie bass !larinet.ith a .or2in$ in a suite)li2e fashion .ards run fro# 0utter#an A re#inis!ent of (laude Debussy@s quasi)*riental 2eyboard .elease 4ate: C9E9 Tracklist: (onversation *ne (.oody !li!2in$ ed$e.iftly into undulatin$ balladry 0utter#an@s rubbed and plu!2ed piano strin$s unders!ored by a pedalled bass !lef tread.e@ve even listened to the #usi!.hat .J.ebsite in!ludes another pianoGsa.ine in the .hi!h is translated fro# one idio# to another in a transition so s2ilful that it !an@t help but raise a .hi!h perhaps fun!tion rather li2e the t.ith /i##y 6yons ?+n)Bet. %his 2ind of #i!ro)level instant !o#positional lo$i! ensures that the #usi!@s .ith a hint of poly)rhyth#i! t.o #usi!ians Aprovides us so#e !lues as to ho.ithout sa!rifi!in$ an overall sense of !oheren!e and flo.he tends to o!!upy the ran$e and spa!e that .ould nor#ally be provided by a bass player.or2.o se!tions of an 6.arts E)8".ith tru#peter (laren!e (Gene" <ha.or2s and beautifully rela.” Ba!2 to the #usi! at hand and altissi#o sa.. 7qual de.ophone sounds #ove s.tended pie!es split into several parts . %he albu# is divided into t.hi!h for#s a !o#posite portrait of the t.hole that has its ante!edents in horn players bassists and even dru##ers as #u!h as it does in say %helonious 'on2. At ti#es this approa!h !o#bines #elody rhyth# and har#ony into a !o#posite .in$ and i#itation.ere bein$ !asually stro2ed over the piano 2eys A transitions into ro#anti! !hord !han$es 6evin@s !larinet be!o#es #ellifluous thou$h . 0utter#an@s re!ent .ith his other re$ular !ollaborator 7d.osition(s"@& “+ tend to phrase #y #usi! #u!h li2e a horn player be!ause of those early years Ispent studyin$ and .o ?!onversations@ (e.or2s before .!han$e but also involves a 2ind of #er$in$ parti!ularly .een).ophone+2e 6evin& tenor sa.ards and do.hole that is the #usi! .or2 a lar$e body of releases available throu$h his .hen 0utter#an and 6evin are both playin$ sa." and ter#s li2e ?!onversation@ ?dialo$ue@ ?!onne!tion@ are all appropriate but there is so#ethin$ #ore A as the photo indi!ates .een any nu#ber of styles and #oods .o players #esh and ent. When a lovely three)ti#es)repeated up.

)Dis2 .ith aplo#b..+T). Hote for e. What see#s to #e to be happenin$ here is that the satisfa!tion and an!horin$ possibility of re!urrent #aterial is bein$ retained .stru!tural !oheren!e #ore than #at!hes its e#otional favour.or2 by Dr Benja#in %o#assetti" possesses the s!ope ne!essary for us to hear the .IC 5EI"O:ICI 0 7*G(N.n so that all #aterial !an be $iven equal .)) 5a0el: 7<.ei$ht freein$ the #usi!ians to pursue the i#peratives of i#provisation and intera!tion A .ithout the ri$idity of a pre)ordained for#at& the distin!tion bet.elease 4ate: /une C9E9 .ider ?#a!ro@ s!ale #e#ori4in$ parti!ular fra$#ents for later use returnin$ to parti!ular 2inds of te. -4'2 5EE +ONITP< C.further#ore one #ust !elebrate the fa!t that the re!ordin$ (the albu# .ture and even to spe!ifi! the#es.EE+< STU(. Both in the parts and in the .as #i.hi!h has so#ethin$ in !o##on . 0ine .hole then these ?Dialo$ues and (onne!tions@ are rarely less than absorbin$.hi!h they do .in addition the #usi!ians are !apable of thin2in$ on a .ANE FD.IS C.a#ple the .ed li2e #u!h of 0utter#an@s re!ent re!orded .ay a !ertain set of !hords re!urs throu$h the first !onversation and the re)use of a #elodi! fi$ure stated ri$ht at the start of the se!ond !onversation a fi$ure .or2 all round.ide dyna#i! and !olouristi! spe!tru# of this perfor#an!e in its full ri!hness.een ?the#e@ and ?solo@ is bro2en do.ith the the#es /ohn (oltrane deployed on su!h #a$nifi!ently ur$ent turbulent re!ords as ?<un <hip@.

".here si#ultaneous soloin$ !reates a 2ind of pointillist all)over te.hi!h referen!e *dysses .hon$saly.. .terity . %he ense#ble appears on one other tra!2 ?.hole and to the nuan!es of the #o#ent so that neither for#al lo$i! nor roo# for #anoeuvre is la!2in$.ith .inin$ s#all details that nonetheless !o#bine to !reate a total pi!ture of absolute !larity.. *ne of the #ost beautiful instan!es o!!urs on ?A 'usi! of %ranquillity@ . thru##in$ harp and hi$her piquant $lo!2enspiel vibes and !elesta" . (ersonnel: 6ee =onit4& alto sa.A 6'ile De 0ressan$es (.hon$saly@ ./oy .(hris <peed& !larinet Bassist <tXphane 0uri! 6eibovi!i@s latest re!ordin$ a sequel to his C99P 7<.ispy al#ost to the point of disappearan!e .ered question disappearin$ into the ensuin$ silen!e before a #ore rela.ophonist 6ee =onit4 .peri#ents .laisted& harp.ay.'aria Gar!ia& !elesta. Generally thou$h on the trio tra!2s .ith a tou!h of Debussy about the instru#entation and a #ore avant)$arde sensibility evident in the use of spa!e.ed se!tion e#er$es.Huit d'ctX. 0or thou$h one #i$ht say that half the #usi! is !o#position i#provisation is undoubtedly !entral here as .hi!h the te.turally and in ter#s of speed and overall #o#entu# .hose la!2 of e!ho $ives the #usi! a 2ind of !risp stati! sta!!ato li2e pri!2s of li$ht e#er$in$ fro# the !orner of the eye in a field of lu.hi!h see#ed at first to be a 2ind of unfinished !larion !all be!o#es so#ethin$ #ore deli!ate ephe#eral un!ertain& an unans..innin$ even disar#in$ .0loat West *n A <lender (urrent..<tXphane 0uri! 6eibovi!i& double)bass7nse#ble on tra!2s L F O A /i# Bla!2& $lo!2enspiel vibraphone !hi#es.here a risin$ fi$ure . %e.Tracklist: *dysseus 1eturns 5o#e. %his is an albu# both possessed of an attra!tive .ith just the ri$ht a#ount of ele$an!e thou$h not .n !ool yet ri$orous approa!h to bear in a !onte..hat .(hris (hee2& tenor sa.ay that the #elodi! lines of =onit4@ alto and (hee2@s tenor ent.".ith an al#ost !asual looseness the easy s.e hear is !o#posed by 6eibovi!i but the #usi! unfolds . +f the titles .here an easy bass lilt and unison flute and sa.uriant shado.ith 6ennie %ristano ..ell)defined !ontour ...hi!h he is perfe!tly suited...XnXlope (.hi!h ensures that the #elodies and related i#provisations unfold .ture #ade up of ent.e@re perhaps nearer to !lassi!al #usi! than ja44 here .%o#orro.6es 'ains De ..ith i#provised !ounterpoint and proves an i#portant referen!e point even in apparently #ore far)flun$ departures.6e /our 7lle %issait.ophone adds a pastoral quality.ho brin$s his o.ithout be!o#in$ overly insubstantial..ell& rather than rote the#ati! state#ents and re!apitulations boo2endin$ solos . + <hall Dan!e 0or DouA 'usi! of %ranquility.here the players !an finally !ut loose the#ati! #aterial is ju.enelope and the sea su$$est an epi! #ytholo$i!al bent the #usi! is #ore lan$uorous its deli!ate #elodies so#eti#es .Dan Dorran!e& alto flute bass flute pi!!olo.erhaps the #ost deli$htful thin$ about this re!ordin$ is the .ithout a requisite ?depth of feelin$@ A there is a pipin$ ed$e to =onit4@ hi$her notes in parti!ular offset by the an!horin$ stru# and thun2 of 6eibovi!i@s bass.taposed . dis! . *n the #ost throu$h)!o#posed pie!e ?A 6@+le de 0ressan$es (QHuit d@7teQ"@ an ense#ble of tuned per!ussion flute and !larinet boo2ends the #ain trio .t to .hi!h for# the #ajority of the re!ord the vibe is !loser to ?!ha#ber ja44@ !o#binin$ $entleness and pre!ision in a .ture is put to$ether& ea!h instru#ental part is attuned at on!e to the !urve of the #usi! as a .6o!al 5eroes.in$ and !o#ple#entary !urve of the #usi!ians@ interplay belyin$ the de.ith sna2y #elodies and tin2lin$ !hi#es (lo.ith (hris <peed and (hris (hee2 is instantly notable for the presen!e of veteran sa.ine& both players have a breathy ed$e to their sound but also a !risp s#ooth . 'u!h of . +ndeed one #i$ht thin2 ba!2 to =onit4@ early free i#provisin$ e.

ardin$ on a deeper e. 5elp has been found to $et hi# a ne. in the 89s he disappeared fro# vie. apart#ent and there have even been a fe.0ran!ois Grillot& bass. piano voi!e.<o#e. While it see#s unli2ely that there .ill be quite the . and . $i$s round to.ophones and bass !larinet.elease 4ate: C9E9 Tracklist: <teppin@.hi!h he has perfor#ed on sa.0reddie 0reeloader.orth see2in$ out.here *ver the 1ainbo.as assu#ed dead.'att 6avelle& tru#petDave Burrell& piano.ell .'odes.Bop Dues.a#ination.but nearin$ the end of the se!ond #illenniu#@s first de!ade he .Hever 6et 'e Go (ersonnel: Giuseppi 6o$an& alto sa.n in .surfa!e and .) -&G%N :*)NT(T 5a0el: %o#p2ins <quare .as ?out@".ith enou$h detail and depth to prove re.Warren <#ith& dru#s Giuseppi 6o$an is one of those ?lost and found@ stories that see# so prevalent in ja44 (ar$uably due at least in part to the so!io)politi!al pressures of the 89s the hard stru$$le of #usi!ians to find a!!eptan!e and to earn a livin$ parti!ularly if they . -4'2 'IDSE((I 5O'AN H T'( G)*+(.ar2.as found ho#eless bus2in$ in %o#p2ins <quare .. dates for 7<.hat they played .Blue 'oon. 5avin$ re!orded a fe.Around..

he really ups the ante on the #ore abstra!t pie!es . Dears (Dves@" (ersonnel: /. %hus if 6o$an hi#self doesn@t al.eni. tenden!ies or .hile playin$ ?strai$ht ja44@ .(.elease 4ate: C9E9 Tracklist: White (hi!2s.hether 6o$an@s s#earin$ rau!ous tone and atta!2 is due to the years he spent alone on the streets .in$ on display as .. Ho'ore<hapes is /ay (ro!2er on $uitar F ele!troni!s /. have this albu# 6o$an@s third re!ordin$ as a leader on .e@ll denote hi# as the $roups@ a$ent provo!ateur.<ay (hin.ith the sudden abrasive s!urries asso!iated .n and !o#e fro# all over the #usi!al #ap heavy on the anythin$ $oes.e do no.ith !onsu##ate ease else.ays sound at the top of his $a#e he has a $roup of #usi!ians alon$side hi# .perien!e of playin$ in $roups to re$ulate his #ore unorthodo.+f *nlyQ(C".(. Where 6o$an suffered in the 89s .hi!h the band play a nu#ber of his ori$inals as .ith .hi!h in!luded a youn$ Don .as a tenden!y for his solos to run out of stea# .oo4y heartfelt e#otionalis# sti!2in$ !lose to the !ontours of the #elody.ith a definite ?out@ feel thou$h there@s plenty of s. one #i$ht suspe!t the latter".ith free players.ay he approa!hes the #usi! (listenin$ to his earlier dates for 7<.0at =id.ithout re$ular e.ith the 1o!2y 'ountains standin$ bet. %he re!ordin$ sound is fine and the Vuintet itself is stellar. -4'2 NoMoreS!apes H CR((+*+ CR)+)+ 5a0el: Drip Audio . +n fa!t his stron$est playin$ here !o#es on the standards& ?Blue 'oon @ . %here@s a$ain so#ethin$ of that here A so#eti#es 6o$an .(. /ones& tro#bone.here.perien!ed after his ?se!ond !o#in$@ (6o$an . 0ran!ois Grillot and Warren <#ith #ean.hi!h post)bebop players deliver the ?heads@ of a pie!e it #ay ta2e a .ith the !onsequen!e that the rhyth# se!tion (. +t@s not entirely !lear .hether it is si#ply the .7ri! 5a#elin& dru#s per!ussion Well $lory hallelujah a Drip Audio band . 0or those used to the !lini!al pre!ision .ho@s the leader@ hall#ar2s but the band@s #yspa!e pa$e is under 7ri!@s na#e so .ell as less e. Dave Burrell plays so#e stor#in$ ?out@ solos fleet flurries of notes flyin$ fro# his fin$ers. 6avelle is deter#ined not to play the ?strai$ht #an@ and #at!hes this e!!entri!ity to i#bue a lot of these tra!2s . %hese $uys aren@t tyros A they@re .ithout a 0ond of %i$ers !onne!tionU *f !ourse these $uys are fro# (al$ary and .ho# played .een the# and Man!ouver this #i$ht just be e.ell !apable of !arryin$ the #usi!.%ears of the .i!e Bitten.+nvisible Glasses. Ho tra!2 !redits are listed nor are there obvious ?.%.ith . . lo.+f *nly 'y (hin 5ad 7yes<na2e 6e$s.as never as prolifi! as Gri#es in the first pla!e" ./ay (ro!2er& $uitar ele!troni!s. @ .pe!tedly !overin$ a !ouple of standards and 'iles Davis@ ?0reddie 0reeloader@.plained by a fear of $eo$raphy fro# those B.He.ell.here *ver the 1ainbo. phrases as if to be$in a solo and then drop out Burrell or 6avelle for!ed to 2eep the #o#entu# of the #usi! $oin$ before he returns.ullen and 'ilford Graves" rather do#inated pro!eedin$s.ill play a fe.er #ainlanders.resur$en!e 5enry Gri#es e. 6avelle has a bri$ht !onfident sound on tru#pet !learly e#er$in$ fro# a stron$ $roundin$ in the ja44 tradition !o#binin$ all the brassy pi44a44 that involves . /ones on tro#bone and 7ri! 5a#elin on dru#s F per!ussion.ith 6o$an in the 89s" are a suitably lo!2ed)in rhyth# se!tion.ell established in their ho#e to.hile to $et a!!usto#ed to the off) !entre renditions here.hile (the latter of .here he@s featured on !hun2y piano and the tou!hin$ readin$ of ?<o#e.hi!h drips .

+nstru#entally everybody is involved and there are no ?feature@ pie!es of over.#yspa!e. that the $roup just isn@t in it for 2i!2s but there@s still the $rit to !at!h you off $uard..ild@n@.ith /ay.egs follo.s i##ediately and is a . %he tunes are polished enou$h to 2no..n)te#po nu#ber If 3nly *y (hin 6ad &yes is e.t tra!2 #at Aid is a pasti!he of !od)s.s if that there before or after re!ordin$ this dis! .ever Snake .or2out and is a !lose se!ond for best tra!2. Another s#all but ni!e tou!h is splittin$ the tra!2 listin$ li2e there@s an a)side and a b)side.2 . -T.ooly fu44)brea2in$ . A do.(.rou$ht solos.ture variation out of this trio to 2eep the re!ordin$ interestin$ and en$a$in$.)fiG !olla$eG2its!hy art on the !over 2udos to the band for a plasti!)less (D !ase.in$Gtrad ja44 and noise but the $roup pulls it off.9hite (hicks opens the re!ordin$ and is a . N": 7ri!@s #yspa!e pa$e (http&GG. *ne of the individual hi$hli$hts o!!urs in Say (hin . and .onderful #ash of stati! $lit!h and distorted)beyond)re!o$nition loops.here /ay reels off so#e ni!e sin$le note runs that e!ho /oe 'orris.!ellent and the best tra!2ho.ho 2no.ith /.but everybody shines and there@s enou$h tone and te.. %o 2eep people $uessin$ the ne.but .!o#Gno#oreshapeseri!ha#elin" states that the $roup is $enerally a duo . Hone of these tunes $o north of 8#in.hile +@# not a fan of the lo.

or2 A . With duo re!ordin$s ho.MIC.isaro@s and <u$i#oto@s !ontributions . /%2( 5a0el: 7rst.ith a!ousti! $uitarists that are revie.as played <a!hi2o 'G A#i Doshida@s !ollaboration as (os#os (re!orded live . +t@s si#pler (as in less full of #usi!al events" than the t.ay A it@s #u!h easier to $et so#e sort of !on!urren!e if not a!tive ?dialo$ue@ in the 70+ sense& indeed if one . %hat said the separate re!ordin$ te!hnique has be!o#e !o##on enou$h re!ently to justify it bein$ !alled a le$iti#ate te!hni!al resour!e rather than a !ase of one)off e.a#ple (thou$h it@s a!tually a sli$htly different !ase as the lar$er ense#ble $ives it #ore of an aleatori! ele#ent A the probability of there bein$ !on!urren!es and a$ree#ents bet.hile .een the separate re!ordin$s be!o#es lo.o %oshi#aru Ha2a#ura duos .AE5 (ISA.everA ones as sparse as this one any.elease 4ate: Hove#ber C9E9 Tracklist: C <e!ondsG B 'inor G Wave Musicians: 'i!hael .ed else. +@# torn about this one for reasons +@ll $o into later& but to start off .O< TA+D SD'IMOTO H 2 +(C&N.+.peri#entation& the '+'7* albu# ?si$ht@ fro# a fe.here in this issue and #ore obviously transparent. B M)N&R .er on!e the nu#ber of parti!ipants starts to spread".ith +@ll ad#it that !ertainly it@s interestin$ and valid and an i#portant !ontribution to the on$oin$ debate about and evolution of the #usi!.ith both .ere re!orded separately after all. years ba!2 is perhaps the #ost fa#ous e.indeed it lays its #aterials out so !learly that it !ould al#ost be a!!used of bein$ an entirely !on!eptual .isaro& !o#position ele!tri! $uitar field re!ordin$s%a2u <u$i#oto& !o#position ele!tri! $uitar #is!ellaneous.

%hat@s not to say that there is no !riti!al ri$our involved and #ost !o##itted listeners to and .ith <u$i#oto@s o.?B 'inor@ a 2ey.ith rhyth#i!ally .or2 .a!tly.hi!h fit in .all brin$ to$ether t.ture or type of sound in a .a#ple .hi!h soni! pro.as listened to #inute details of the sounds of passin$ !ars nei$hbours@ noises et! than one is to $et a treatise of aestheti! jar$on. All three last t.o separate !o#positionsGperfor#ers based on a parti!ular idea. #ethods (.ith .plored .hen listenin$ to it.and $iven also the .ere re!orded separately" one . %he !riti!is# .or2s artisti!ally or not A it@s not just a si#ple ?+@# partial to this@.hi!h o!!asionally !aused #y headphones to vibrate" so#eti#es $or$eously spa!ily ri!h (this ?beautiful@ aspe!t to sine tones is one that@s not been e.as left #ore open . ?<ilen!e and After@ series on Another %i#bre" one !an ar$ue that the #usi! is as #u!h !on!eptual as it is #usi!al that theory and pra!ti!e sound and pre)planned fra#e. approa!h to duo playin$ fostered by the influential ?lo.hi!h both #usi!ians@ !ontributions .hi!h su!h si#ple and ?old)fashioned@ !riteria as ?+ li2e this sound@ and ?that is a beautiful !hord@ be!o#e surprisin$ly i#portant. %he openin$ tra!2 finds .e!ution are too !losely tied to be usefully or easily disentan$led.hat sounds li2e t.er!ase@ s!enes in /apan Berlin 6ondon is one in .hi!h one featured the perfor#ers in the sa#e spa!e.ith $reat ri$our e#bra!in$ deliberate li#itation and an al#ost #onasti! intensity of fo!us leads to the !reation of a #usi! in . ?C <e!onds@ is a unit of pulse.hi!h to #a2e one@s #ind up.?Wave@ .n short ele!troni! beeps (a $uitar tuner?" and stri2in$ of .i#ity #eans sharin$ the sa#e spa!e rather than dire!t i#itation or fa!ile ?!onversational@ interplayea!h player pursues their o.ooden obje!ts (!laves?".ould be An$harad Davies and A.in$ the !onsequen!es of one idea or te.ord" and #y !riti!al evaluative sense raise proble#s for #e .ith ea!h #usi!ian free to #a2e their o.ould be able to have a lon$ and !onsidered debate about .ould no doubt ar$ue" does in fa!t stress personal subje!tive jud$e#ent just as #u!h as any theoreti!al or syste#ati! analyti!al syste#& one is #ore li2ely to $et a story about the !ir!u#stan!es in .hi!h has developed (#ainly on blo$s and online foraIEJ" alon$side the ne.n interpretation of that . %he ne.hi!h + be$an the revie.o . %his does not #ean thou$h that one !annot jud$e it by #usi!al standards& indeed they are the pri#ary #eans of #easure#ent the yardsti!2 by .o #inds about the #erits of the dis! be!ause both #y personal sense of enjoy#ent (probably not the ri$ht . %he sine tones build up to !reate ri!h !hords that are so#eti#es <a!hi2o)')star2 (thou$h not quite as tinnitus)indu!in$ly hi$h)pit!hed A there@s a si$nifi!ant lo.ay that overlaps .#usi!ians in the sa#e roo#" and the Ha2a#uraG Doshida !ollaboration ?<oba to Bara@ (in .hether so#ethin$ .ell *= by no.riters about this #usi! .ould be hard pressed to say .ed in this issue.ord.)end ru#ble .hi!h the re!ord .hi!h has been used to !onstru!t the three pie!es.enty #inutes e." Given this the separate re!ordin$ te!hnique fits perfe!tly. +t@s an interestin$ interse!tion indeed .& + find #yself in t.n parti!ular dire!tion follo.ith rather than dire!tly parallels the a!tivity of their partner.ay that re!ent develop#ents of post)(a$eian theory and pra!ti!e have blurred the lines bet. <till all this builds up to the state#ent . they@re not that ne.een !o#position and i#provisation (as do!u#ented on the ne.aves looped to !reate beats . 0irstly let@s !onsider the !on!eptual (!o#positional" fra#e. (A fine re!ent e.isaro usin$ layers of sine . as 'attin .here pursuin$ theoreti!al $oals .or2G#anner of e.el Dorner@s ?AD@ also revie.

or2 ele!troni! beep and the se!tions of layered sine)tones at others + feel unable to fully pull #yself into the sound.hat sounds li2e an ele!tri! drill is briefly s.isaro !hooses a field re!ordin$ of o!ean .hile 'arion Bro. +t@s the sa#e here A +@# not sure .or2 of the !larinetGele!troni!s duo 6os Glissandinos".hi!h allo. *nto the final tra!2 any.s + totally respe!t and .ould have been but so#e. *r on!e a$ain + 2no. A$ers and yet + just !annot share their enthusias# for 6araaji@s ?Day of 1adian!e @ the third in Brian 7no@s a#bient series.hole& at ti#es + ad#ire the bloody)#indedness of the !lo!2.tures& and .e enter a diffi!ult area .erhaps.ho# one . people .hat over the full t.e thin2 too of his re!ent re!ordin$s of si#ple hai2u)li2e #elodies rendered .e !onsider beauty as the $eneration of prettiness deli!a!y s. +t is lovely yes butQAnd then + thin2& to .e re#e#ber this fro# the !lassi! <u$i#oto of ?*pposite@ and .a#ple that sprin$s to #ind is the .ei$ht on a leather !hair and at one point .orld@ non)ele!troni! sounds into pro!eedin$s& o!!asionally .hile this #i$ht have been absolutely $or$eous if restri!ted to three or five #inutes (as .ICJ Dou !an have too #u!h of a $ood thin$ thou$h and . <o#e of the tones are held to !reate the !hord but the #ore abrupt dial)tone li2e ele#ents ensure a 2ind of !lipped) feel round the ed$es.ere the pie!es on ?*pposite@ and as are the pie!es on ?<aritote ++@" it does pall so#e.hile .ould hardly !all un)!riti!al He.hi!h + had briefly been dra.hat absurd a!erbi! levels of ?beauty@ have + be!o#e a!!usto#ed .hi!h . *f !ourse .enty.s hi#self.ith vo!alist 'oe =a#ura.ay in .ho have no idea of on2yo or tao#ud or .isaro the #elodyA sustained handfuls of notes that #esh .hose #usi!al vie.that #u!h A the only e.t and evin!es the sa#e sort of ri$our in ter#s of the $estures ea!h #usi!ian allo.ture at re$ular intervals.hi!h enters and drops out of the te.ly)pa!ed equally)pla!ed !hord sequen!es A .ith and a!!entuate the !hords rather than ba!2)$roundin$ the#.ith a 6oren (onnors)style #ini#alis#.n $oes too far into $loop and si!2liness.it!hed on. >lti#ately thou$h + do ad#ire the restraint of the !on!ept + !an@t quite fully enjoy the tra!2 as a .this ti#e thou$h . *!!asionally .ould lead #e to thin2 that this #usi! perhaps palpably u$ly or just plain borin$ to so#e people .hen .hat is played is deliberately pretty i#partin$ thin$s .eiser is overly pretty? But .andel. 0or #e . Both #en are on ele!tri! $uitars& <u$i#oto plays the har#ony (in B 'inor of !ourse" A slo.ave@ to #ean ?(sound".ts.here thin$s step over an invisible (l"ed$e and that 2ind of si#ple beauty is not quite enou$h.aves brea2in$ (or it #ay be an ele!troni!ally)$enerated sound" .hat forbiddin$ly roboti! (li2e a 2ind of soft industrial #usi!".ed?" drone A .ed and ri$id quality openin$ out beyond the re!ordin$ to different spa!es ti#es !onte.hi!h <u$i#oto interprets ?. ?B 'inor@ is ne.hat the opti#u# nu#ber of #inutes for the tra!2 . 'y fault? .n. Given these fra$#ented $li#pses one supposes that <u$i#oto@s !ontribution had a visual theatri!alGritualisti! quality to it .e hear the squea2 of so#eone shiftin$ their .ave@ A a sustained (e)bo.ith a sparse and often be$uilin$ hesitant deli!a!y in tande# . ?real).e hear sounds fro# (+ presu#e" <u$i#oto@s re!ordin$ .eet tin2lin$ te.orld steppin$ out of that i##ersion into .the pie!e is at on!e !o#fortin$ in its rhyth#i!al re$ularity and so#e.n@s !ontribution to 5arold Budd@s ?Bis#ali '1rah#an '1rahi#@ ensures that that tra!2 re#ains one of #y all)ti#e favourites the rest of that Budd re!ord sans Bro.hi!h is lost on the re!ordin$ su$$estin$ other di#ensions to the pie!e that belie its apparently fi.

ay in .innell@s ?%he Wat!hful 7ar@ /esse Goin@s ?(ro.hi!h for #e #a2es it less su!!essful #usi!ally.ay +@# a. *verall then there are ele#ents about ea!h pie!e + li2e both !on!eptually and #usi!ally.this is so#e. rather than bein$ fully inte$rated A it feels li2e an add)on rather than an interestin$ ju. 'aybe it@s a 2ind of re#inder a jolt that prevents us $ettin$ too !o#fortable that lets us 2no. subje!tive in an al#ost petty #anner these jud$e#ents sound.ron$@ !han!e operations (in the E:BO essay ?Alea@IKJ" and . MIC.hat spoiled by .erhaps this is the inevitable !onsequen!e of the aleatori! . Whether it ?. <u##arisin$ in this . -4'2 IEJ 0or instan!e 1i!hard . ICJ %a2u <u$i#oto and 'oe =a#ura ?<aritote +@ (C99O" and ?<aritote ++@ (C9E9" IKJ As referen!ed in /esse Goins@ revie.hat outstays its .enty #inutes.or2s@ or not it is as + ar$ued at the be$innin$ an i#portant do!u#ent a sprin$board for debate and a #usi!al e.a#ine the albu# itself.as put to$ether but +@# not sure that@s ne!essarily true& as the other tra!2s and other separately re!orded i#prov !ollaborations attest it@s perfe!tly possible to !reate so#ethin$ !ohesive and sy#bioti! usin$ this #ethod.AE5 (ISA. of this albu#.ith so#e $enuinely lovely #o#ents.e had for$otten about in our easy i##ersion into beauty and prettiness.or2s a$ainst the ri$our of the drone renderin$ it al#ost He.perien!e .and +@# $rateful to this re!ordin$ for #a2in$ #e . And it also . +t sits on top of the overall #usi!al flo.onders ?have + be!o#e as tet!hy as that@? *n the other hand + just don@t feel that the pie!e .el!o#e. .taposition.hi!h the #usi! .ith Ho 'outh@ and Brian *le.+ '%2( (%R+ .isaro@s !ontribution .ell as the #essa$e board ?+ 5ate 'usi!@. *f the three + thin2 ?C <e!onds@ probably . 5ere one thin2s of Boule4 distin$uishin$ bet.are of ho.O H 4)(-.orth investi$ation if you haven@t head it already.or2s best over the entire t.hi!h doesn@t see# as integrated as . the ele#ent of ris2 and failure .and ?Waves@ is (perhaps deliberately" less !ohesive (or at least #ore sli$ht" .n !riti!al approa!h as #u!h as + e.a#ine #y o.ant to e.?B 'inor@ is #ore i##ediately prettyG beautiful but so#e.ere the ele#ents that #ade up the other t. .very #u!h .ni!2@s ?/ust *utside@ as .)A$ey li2e an avant)$arde version of one of those ?<ounds of the <ea@ easy)listenin$ albu#s you find in British $arden !entres.o pie!es.or2s .een ?ri$ht@ and ?.hatever the #ethods behind its !onstru!tion.

of the .or2 that is by no.jpGyu2o4GC9E9ECC9" .on ?0ields 5ave 7ars L@ . as the a!tual substan!e of #u!h of the pie!e often see#in$ to ta2e pre!eden!e over any notes that are played." What piano .t !an .isaro@s !o##ents in the liner notes to last year@s %erry /ennin$sG/ohn (a$e release ?6ost Dayli$ht@ alon$ the lines that even the sounds in /ennin$s@ piano pie!es have silen!es in the#.t fe.ay that they@re strun$ out bet. ?0ields 5ave 7ars E@ is for piano and tape (a fairly sparse field re!ordin$ .hatena.ly before pausin$ and playin$ a repetition of a different note pausin$ a$ain playin$ another note and so on.atri!2 0ar#er& natural obje!ts.Bob 6o!2.ood& #elodi!a<!ott '!6au$hlin& !ello.0ade. +@d !on!ur .rites that “in .as the first dis! of the ?<ilen!e and After@ series to .isaro as2s for on these .rite about. #ore spa!e for a !ertain a#ount of i#provisation .6i4 Hi!holas& fro$ $uero.hat .hat one #i$ht !all a softer side A bein$ unafraid to use !onsonant ?pretty@)soundin$ !hords.ho .or2".ear off into #ere $loopiness if not done e.<arah 5u$hes& 4ither.erhaps + didn@t pay it as #u!h !lose attention as +@d !onvin!ed #yself + had for + a!tually still find it quite hard to .ay that silen!e does on the other t. As + noted in a separate revie. *ne #i$ht say that the tape fun!tions in #u!h the sa#e ./ohnny 5erbert& sprin$ dru#. %here@s a 2ind of la$ here that@s i#plied in the title A not in the sense of “e!hoes dyin$ dyin$ dyin$” but as so#ethin$ va$uer a sli$ht blurrin$ at the ed$es repetition of the note not so #u!h e#phasisin$ it as en!losin$ it in a 2ind of ha4e (a !ons!iousness e#er$in$ fro# the use of delay effe!ts that@s been enabled by ele!troni!s". ?0ade@ a .5a0el: Another %i#bre .ith Du2o Sa#a .ould see# to allo. (+@# re#inded of .e do hear re#inds #e a little of the ./oseph =udir2a& !y#bal.or2s are a!tually less up)front in their prettiness than /ennin$s@ parti!ularly $iven the . ten years old is #ore i##ediately star2& the pianist plays a repeated (pedall@d" note slo.ould have.isaroG%a2u <u$i#oto duo albu# on erst.Do#ini! 6ash& double bass d #e#bers of the 7d$es 7nse#ble A /ulian Broo2s& laptop.hilip %ho#as& piano (all tra!2s".ith .ithin !ertain fairly stri!t para#eters espe!ially $iven that it@s !redited as a ?realisation@ of the ori$inal .ith for a !ertain period tells you #ore than any len$thy !riti!al spiel .0ields 5ave 7ars L (ersonnel: .a!tly ri$ht A but the note !o#binations .<tephen (hase& !oni!al blo.isaro (+@# assu#in$ that the first t.histle.o pie!es A i.1i!hard Glover& slide .hile (see above" this is a ris2y poli!y to adopt A the sho!2 of the pretty in an avant)$arde !onte.e approa!h an e$olessness that is at the heart of #u!h [1] Du2o Sa#a revie.hi!h + listened and it proved so !o#pellin$ that + !hose not to play any of the others until +@d really du$ (into" it a!!li#atised #yself to it let it for# a part of #y listenin$ habits for the ne.but perhaps also the fa!t that this #usi! !an resist analysis after bein$ lived . +n any !ase . .e.Ben +saa!s& tru#pet.een su!h lon$ silen!es. of ?0ields 5ave 7ars@ (http&GGd.or2 e#er$es fro# 7uropean serialis# and the 6a 'onte Doun$G (a$eian turn to *riental philosophy .ay that /ennin$s@ .o at least are fully notated thou$h the final ense#ble pie!e .ne.ith .elease 4ate: Hove#ber C9E9 Tracklist: 0ields 5ave 7ars E.e have here are three !o#positions by .isaro@s piano pie!es the !o#poser and perfor#er@s personal voi!es are not on the !entre sta$e-”IEJ but this does not #a2e the pie!e in any .5annah <herry& !larinet %his .hi!h features birds the o!!asional distant ru#ble of a passin$ plane and the hiss of the re!ordin$ devi!e".ee2s at least. horn. .ay ?#e!hani!al@ ?!old@ ?i#personal@ et!& rather .

or perhaps it .ford& Bla!2.pands thin$s ri$ht out to in!lude an ense#ble of fourteen players (in .entieth (entury .sli$ht !han$e but no ?develop#ent@ as su!h.e be$an to realise our #ista2e.estern linea$e (the piano bein$ the ulti#ate sy#bol of . +f the ai# is not to introdu!e natural sounds for aleatory effe!t neither is it to #i#eti!ally repli!ate anythin$ as a 2ind of hyper) realist version of pro$ra##e #usi! a !ouple of sta$es beyond 1espi$hi@s or 5ovhaness@ de!orative in!orporation of bird) and .hi!h %ho#as@ piano is the #ost pro#inent and re!o$nisable sound" but it #ana$es the feat of #a2in$ the lar$e $roup sound in!redibly deli!ate and s#all.e have e.atri!2 0ar#er@s natural obje!ts. %hat@s the $reat le$a!y of L@KK” as e. Whilst one is first !ons!ious of %ho#as@ !hi#in$ !hords A a 2ind of early si$nal at the start of the soundin$ se!tions A and !an just about pi!2 out a !larinet fro# the quiet !loud of players one $radually !o#es to re!o$nise other ele#ents in the te.orld #ana$ed to retain and partially tea!h us ba!2 on!e .ed by silen!es those sounds and those silen!es start to !han$e to shift.oe#& 7thi!s of <urvival@ in ?. +@# not sayin$ that .terity.e are”-ICJ “the ori$inal e.ise fairly ICJ /. And yet so#ethin$ is !han$ed.5. and here and this.halations indentations #odifi!ations of silen!e.een sound and silen!e is #ore sy#bioti! than it allo.IQJ not IQJ to loo2 at a different . a lar$e ense#ble !ontrols itself to su!h quietude is quite astonishin$ and lends the pie!e so#ethin$ .panded beyond the !onventionally #usi!al to in!lude one@s environ#ent as a .post)A'' ideolo$y and that has so#ethin$ a2in to the !o##unal approa!h .hat fan!ifully that silen!e fun!tions li2e the air bet.hi!h is an e.in parti!ular at the pri!2lin$ ed$e of stereo pi!ture (preventin$ thin$s fro# be!o#in$ too s#oothly ?pure@" the rustleG!ra!2le of .ublishin$ C99K (C99E"" .ith stru!tural intent.oe#s@ (%arset& Blooda.roje!tive Merse@ in ?A (o#panion to %. 5ere .s.hi!h a s#all $roup playin$ at the sa#e level !ould not have a!hieved A and so#ethin$ .rynne ?Airport . 6et@s say so#e.pansion in. <ound #odifies silen!e #odifies sound (and the subsequent soundGsilen!e of life after you listen". 5o.ell .ith any of these !o##unal #usi!s A in ter#s of sound it@s very #u!h part of a parti!ular . .pansion out.”IKJ" %hus . Heil 1oberts" (*.orld but to loo2 at this sa#e .isaro@s #usi! really has #a2e in !o##on .ard but also an e.plored in =yle Gann@s re!ent boo2 ?Ho <u!h %hin$ as <ilen!e@ A a listenin$ a.areness e.hi!h .een the !olu#ns of a !olonnade. ?0ields 5ave 7ars L@ the #ost re!ent pie!e e. +n both ?0ade@ and ?0ields 5ave 7ars L@ one #i$ht visualise the sounds as havin$ physi!al presen!e A s!ulpturally or ar!hite!turally as obje!ts that han$ in spa!e A sound as su!h bein$ #aterial in spa!e.hi!h the rest of the .estern !lassi!al #usi! even" A but it does approa!h si#ilar insi$hts fro# a different an$le parti!ularly on this dis!@s third tra!2.ard into the ?#inute parti!ulars@ of a parti!ular #o#ent or lo!ation or spa!e A “the G fli$ht ba!2G to .orld differently.isaro@s use field re!ordin$s A listenin$ ba!2 to the .oetry@ (ed.here G .hole (.orld and in!orporatin$ it into the #usi! not so #u!h in a ?!han!e@ #anner but .as the ense#ble #usi!ally breathe to$ether as they repeat the pro!ess of unison sounds follo.ould be #ore apposite to reverse the #etaphor so that the sounds are the air the silen!es the a!tual stru!tural that interse!ts and defines it.a#ple of hu#an de.perien!e of no.ture. %hen a$ain let@s just dit!h the analo$y alto$ether for the relationship bet.estern !lassi!al #usi! for$ot about for a !ouple of !enturies but .hale)son$ into other.hi!h is #ore than just a tri!2 or an e.e C99B (E:8:"" IKJ /ohn *sborne ?Bla!2 'ountain and .

hi!h is not e#ptiness and a real !larity A ea!h note is . %hat la!2 of distin!tion bet.hen one is tryin$ to still oneself to hold one@s breath to listen !losest (+ !ould feel #y ear pulsin$ a$ainst #y headphones at the quietest points in the #usi!".hi!h is up)front throu$hout (and yet doesn@t $ive a lo)fi i#pression at all perhaps be!ause %ho#as@ piano playin$ is so lovin$ly re!orded".or2 doesn@t for #e have the sa#e ri$our in its translation to dis! (live it #ay be .isaro no.e hear on ?0ields 5ave 7ars E@ are not pure field re!ordin$ A there are a !ouple of unobtrusive sine tones in there + believe thou$h they ta2e up a s#aller part of the soni! pi!ture than the tape hiss .ithout severely har#in$ one@s ability to pi!2 up the thread a$ain .or2s.erhaps it@s the !o#positional fra#e. %he dan$er nonetheless is still that one . (lose fo!us is then on the #o#ent thou$h the #usi! is $enerous enou$h to allo.ithout real dedi!ation on the part of both !o#poser and perfor#ers to the parti!ular aestheti!s . -4'2 ILJ Hor is it to reprodu!e natural patterns or rhyth#s in a stri!ter sense (the ?breathin$@ effe!t of ?0ields 5ave 7ars L@ is si#ply #y subje!tive interpretation and one !ould easily listen to the pie!e .asn@t too 2een on the o!ean .ay that e.ILJ +n point of fa!t the sounds .ts . and is perhaps even in dan$er of be!o#in$ a tad ha!2neyed at ti#es (+ .n bodily rhyth#s assertin$ the#selves just at those #o#ents .hole and parts be!ause it@s not develop#ental (apart fro# that it o!!urs in ti#e.a!tly . for #o#ents of inattention too o!!asional drifts in !on!entration .hy this is but so#eho.aves that appeared in the third pie!e of his duo re!ordin$ .a state that !annot be !onjured .as #usi! it is ne!essarily linear on the #ost basi! level".perien!e".hi!h enable F pro#pt it.hat !ould be!o#e unfo!ussed rando# or #eanderin$ in i#prov !onte. ?0ields 5ave 7ars @ then (the albu# as a .or2 as dis!s as albu#s separated fro# their live #o#ent of !reationthey do still fun!tion as !o#pellin$ e. the re!ordin$s of . + don@t thin2 + !ould pin) point e.perien!es.een .ill be te#pted to say ?oh ni!e bird son$ that@s pretty@ and leave the #usi! on the level of a BB( sounds effe!ts !assette tape .tends beyond initial theoreti!al $eneralisations and into the fabri! of the .e have here thou$h + don@t thin2 that at all.ay one !an@t distin$uish too easily bet. .hole" possesses a spareness .+ find it i#possible not to ad#ire the !are of shapin$ refinin$ honin$ this aestheti! of silen!e in a .een episodes that la!2 of build and !li#a.hen one 4ones ba!2 in. +n a .ith %a2u <u$i#oto".!onventional or!hestral .isaro@s pie!es that +@ve heard do .ithout thin2in$ of it as breathin$)li2e at all.hen everyone@s havin$ an off)day A thou$h that said <u$i#oto@s turn to ultra)ultra #ini#alis# in his re!ent !o#posed . %hat said it is !apable of #a2in$ one !ons!ious of one@s o.e!ution.ei$hted and !onsidered and pla!ed ea!h pause jud$ed ea!h ele#ent !onsidered. 0urther one #i$ht ar$ue that the use of field re!ordin$s is an established te!hnique for . #i$ht see# li2e #ere flatness to so#e but it@s a!tually pretty hard to a!hieve espe!ially on a lon$ lar$e)ense#ble pie!e li2e ?0ields 5ave 7ars L@.ith so#e added piano !hords here and there. .onderful the !reation of a spe!ifi! 2ind of shared e. *n the eviden!e .or2@s !onstru!tion and e.or2 that i#poses a ne!essary ri$our on .

%he .G.!lusively on alto here as the e#phasis is #eant to be on Dolphy as !o#poser.April 0ool(D %W*& <tren$th and >nity.anther Wal2s “'andra2e”.ho !ould for this reason be !alled the de facto leader. arran$e#ents by <il2e 7berhard .ophoneHi2olaus Heuser& tro#bone.+n the BluesGa44elloni.%he Baron<o#ethin$ <.EO West. eyebro.n.<trai$ht >p and Do. <he .'iss 'ove#ent. 'aybe it has no pre!edent but the pre!on!eption that any one instru#ent is indispenable .ith AA(' line)ups .otsa 6otsa”.er2statt .ith Dolphy !ontributin$ bass !larinetGdouble bass duos solo perfor#an!es and the unusual if not unpre!edented 3ut to lunch line)up of tru#pet reeds vibes bass and dru#s. %he only one + #i$ht have found unre!o$ni4able is $ed planet% a2a *ilesG mode.&-. %he instru#entation here alto and tenor sa.<outh <treet 7.s.6ady “7”.5at and Beard.n in <!otland for in person perfor#an!es .-(T( /&R<+ &4 (R)C .ithout da#a$in$ the fabri! of at least the fa#iliar Dolphy pie!es.orth pointin$ out that 7berhard is quite i#pressive on bass !larinet but !hose to fo!us e.6es.'Y 5a0el: /a44.'iss Ann.hole albu# sounds as if it .(OTSA 5OTSA H T'( C&M.it.elease 4ate: /anuary C9EE Tracklist: (D *H7& Burnin$ <pear T5alf Hote %ripletsT.<erene.Hu#ber P “..+ron 'an. +t is .*ut to 6un!h.*ut %here%he .1ed . Det all his !o#positions in!ludin$ a fe.+nner 0ly A 5at and Beard 1eprise (ersonnel: <il2e 7berhard& alto sa. that have never been !o##er!ially re!orded are perfor#ed here in ne.ith a band !alled "ewt >possibly still available on an online video outlet" than south of the border in Britain.lanet.eet <o#ethin$ %ender.ophone.W..ith A2i %a2ase on a #ere handful of *rnette !o#positions and is probably better 2no.as also involved in the 3rnette (oleman anthology% C (Ds of duos .atri!2 Braun& tenor sa.CLB%he 'adri$ <pea2s %he .as questioned as early as /i##y Giuffre's #id B9s trios !ontinuin$ .<prin$ti#e.rophet. %here is so#e re)har#oni4ation .ophones tro#bone and tru#pet #i$ht raise a fe.Gerhard Gs!hl3ssl& tro#bone Dolphy hi#self does not appear on these C (Ds of !ourse.

*n *iss nn an ostinato fi$ure after the openin$ the#e state#ent brea2s up into !ontrapuntal i#provisation or so it see#s till the quietly repeated sa.ay that it is diffi!ult to tell the# apart.atri!2 Braun" in the lo. +f all this su$$ests that arran$e#ent stifles the spirit of i#provisation here nothin$ is farther fro# the truth as these four sustain interest by the .as ri$orously rehearsed .it rene.ith a #astery of for#al aspe!ts bein$ noti!eable.ill provide so#ethin$ li2e a bass line at ti#es in !onjun!tion . When a $iven instru#ent i#provises so#eti#es it is una!!o#panied but usually other instru#ents . +t is #eant to be a portrait of a drun2 person tryin$ to . and then" and elasti!ity of rhyth# help to 2eep the #usi! varied.arnin$ to the unsuspe!tin$ listener& The complete works of &ric Dolphy is a .er re$ister.n versions.n quartet albu# by <!hlippenba!h Broomriding features t.<!hlippenba!h F !o.ith the arran$ed fa!tors in su!h a .s Dolphy's #usi! by stayin$ true to the spirit of it.ill provide a !o##entary or supportin$ har#oni! ba!2drop.H west .or2 of !onsiderable density and a !ontinuous listenin$ fro# be$innin$ to end #i$ht not be the best approa!h for so#e listeners.ithout pre!edent of !ourse. %his #utates into a different ostinato riff for all four instru#ents before the final the#e state#ent. *n ..ith the tenor (.. %he nearest + !an hear to this is on Straight up and down but even in the !olle!tive i#provisation here so#e pulse see#s to be i#plied or #aybe + a# readin$ this in. As . %here is rarely 'free)for)all' i#provisation.atri!2 Braun's tenor brea2 !onsists of so#e #ild Br3t4#annship (or #aybe it's #ore li2e Gerd Dude2" before the tro#bone joins in .ophones. But for so#ebody li2e #e . %his is so far fro# bein$ a literal)#inded repertory readin$ of brilliant #o#ents fro# the #usi!al past.ith Dolphy's #usi! for de!ades +'# sure this albu# has still so#e surprises to be revealed on repeated listenin$ plus the anti!ipated fas!ination of !o#parin$ Dolphy's o.'s idiosyn!rati! ta2e on the !o#plete 'on2 on the K (D set *onkGs casino #ay sprin$ to #ind but a lesser 2no.ho has lived .o Dolphy nu#bers Straight up and down plus Something sweet and tender% and the i#provised passa$es on these are noti!eably looser and #ore rhapsodi! (relatively spea2in$" than in the albu# under revie.n #usi! ele#ents li2e dyna#i!s ti#bre (the use of #uted brass no. -S+2 .al2 after all.al2in$ bass line.ith the se#blan!e of a .ophone fi$ure is heard behind the fortissi#o brass. *ne . <o#eti#es the tro#bone (Gerhard Gs!hl3el" .ay they inte$rate the i#provised .ith the develop#ent of Dolphy's o. *n 6at and 'eard the tro#bone solo (and Gs!hl3el's te!hnique is su!h that his !o##and of the hi$her re$ister #a2es it hard to tell fro# a tru#pet" later joined for a !ontrapuntal i#provisation by tru#pet (Hi2olaus Heuser" has so#e har#oni! ba!2$round provided by the sa. %he 2ind of adventure represented by this albu# is not .

.ENS H S<T 5a0el: Fre!ords .ierre)Dves 'artel on prepared viola da $a#ba t.ith all sounds blendin$ and sy#pathi4in$ .hel# the listener.Molta.hile .Adda. .onderful balan!e bet.Al4.ierre)Dves 'artel& prepared viola da $a#ba t.ai. Both are part of the 'ontreal i#prov s!ene havin$ individually been on (D@s on A#bien!e 'a$netique and have played to$ether in the $roup Vuartets2i.ith international #e#bership. !onsiderable praise .hilippe 6au4ier on sa.plored to a natural !on!lusion.hilippe 6au4ier& sa.as #ade . %he sparse (D notes do not indi!ate if the re!ordin$ .ithout overdubs but nonetheless the son$s don@t $rab you by the throat and over.Bra4os. bass !larinet tubes F #elodi!a and .indin$ and . .s around the +sland of 'ontreal (.endin$ nature of the sounds is the reason ." are !o#plete and su!!in!t .ay that ta2es the Great 6a2es .. (ersonnel: .hy the son$ titles all !o#e fro# rivers.SAINCT 5AD.ren!e the (anadian sea.hi!h is nearly .ophone bass !larinet tubes #elodi!a.hillipe leads several ense#bles .ays obvious .e!os.ith an idea e.holly ta2en up by the !ity of 'ontreal" in its !ourse. %he nine son$s (all but one under B#in.*ria.hat the sour!e of sounds is. And as a !redit to the perfor#ers it@s not al.elease 4ate: C99: Tracklist: <epi2.erhaps the .o)in!h spea2ers radios !onta!t #i!s A duo of .atershed east to the Atlanti! and flo.een a!ousti! and ele!troni! #usi! .Mero.o)in!h spea2ers radios F !onta!t #i!s <ain!t 6aurens finds and #aintains a .further the (D@s title is the 0ren!h translation of the <aint 6a.ide variety of tones and te.ierre)Dves #aintains a profile in early #usi! and his C998 re!ordin$ “7n$a$e#ent F (onfrontation” dre.ith ea!h other.tures than2s to the variety of instru#ents at play here but the #usi! is still subtle and has a !onsistent intent throu$hout the (D. %here@s a . .

videos of the duo are up on youtube and indi!ate that they use pre) re!orded sounds.Grasshopper& #andolin.=ristof 5ahn& ele!tri! $uitar #outh harp.6ittle 'outh (ersonnel: 'i!hael Gira& vo!als a!ousti! F ele!tri! $uitar !o#positionDevendra Banhart <aoirse Gira& vo!als on ?Dou 0u!2in$ .ravdi!a& bass $uitar.7den .hat you'd !all a <.ailin$ feedba!2 and distress perhaps !o#in$ .eople 'a2e 'e <i!2@Brian (arpenter& tru#pet slide tru#pet.rite)up by sayin$ that +'# not .( M( *.hat + have heard of their .hil .Hor#an Westber$& ele!tri! $uitar e)bo.uleo& dru#s per!ussion dul!i#er Additional In&ormation: %his revie.Bill 1ieflin& dru#s piano EC)strin$ a!ousti! $uitar ele!tri! $uitar synthesi4er or$an.rison.+nside 'adeline.G*).ithout a heavy hand.ierre)Dves@ viola da $a#ba..s sounds to unfold and develop and lets the !reativity flo. %his duo allo./i#. -T.ave of .ed version of the albu# entitled ?6oo2 at 'e Go@. + should prefa!e this . % R&.1eelin$ the 6iars +n.'y BirthDou 0u!2in$ . %he se!ond half of dda be$ins .ith a . %he band's return after a EK)year hiatus sees the# adoptin$ a post)G<DB7 self)!ons!iously .elease 4ate: <epte#ber C9E9 Tracklist: Ho WordsG Ho %hou$hts.2 SWANS 0 MY 4%T'(R /)-.nonetheless that so#e sounds are prepared in advan!e does not di#inish the appeal or feelin$ of adventurousness of this re!ordin$. A fe.ans devotee thou$h + do ad#ire .+t@s not all #i!ro s!rat!hin$s as there are broad and bold #usi!al $estures throu$hout the (D.%hor 5orris& dru#s per!ussion dul!i#er vibes !urios 2eyboards. And the entirety of Volta is a steady .and 'i!hael Gira@s initial solo versions of the son$s released as ?+ A# Hot +nsane@ (all on Doun$ God 1e!ords". refers to the sin$le)dis! release of ?'y 0ather Will Guide 'e@the C)dis! edition featurin$ the re#i.eople 'a2e 'e <i!2.or2.( T& T'( +<Y 5a0el: Doun$ God 1e!ords ..onderful squel!h of stati! and distortion and !ontains so#e obviously ele!troni!)sour!ed #aterial. .(hris .

ebsite Gira has stated that these introdu!tory se!tions should have been far lon$er and that he .hi!h the spea2in$Gshoutin$Gs!rea#in$ voi!e . %he first of these is '+ a# Hot +nsane' a solo put out on Doun$ God 1e!ords to fund the re!ordin$ sessions for the #ain albu# .hat sound li2e !hur!h bells.ill build up on alternatin$ t. !o#position #ore a2in to ?!onte#porary !lassi!al@ than to ?alt)ro!2@ .ay fro# the stripped)do.hat lost a#on$st all the other sounds on ?'y 0ather@.orth !he!2in$ out these !o#panion .ould e.ayG %o the foot of your throne” !ould apply equally to a lover and to (hrist (.isted hu#our of !ourse"" su$$ests the (hristian notion of sin and self)#ortifi!ation abstra!ted fro# a spe!ifi! reli$ious !onte.ardly' to leave the# as snippets. (ertainly this a .pe!t fro# front)#an 'i!hael Gira.or2 into .ans)ish@" !o#in$ out the other side of the !o#posin$ pro!ess& it appears on the se!ond dis! of the spe!ial edition of ''y 0ather' and is a sin$le L8)#inute tra!2 so#e.ith the $ri##er lyri!al strain that one . !ut out #y sin”" . %his .ould eventually turn out but it does stand up as an albu# on its ri$ht A the re!orded sound is !rystal)!lear and Gira@s voi!e reveals resonan!es that $et so#e.ays" and not too va$ue to see# #erely 'Gothi!2' in a teena$e #anner.e hear a fairly len$thy passa$e for .ith the desires presented in (hristian do!trine& the final son$'s lines “And #ay + find #y .ith #ore e#phasis on or!hestral and noise te.hi!h finds Gira playin$ initial $uitar)and)voi!e versions of the son$s at his des2.ards a #ore instru#ental or!hestral approa!h.ould see# to indi!ate a definitive #ove a. + suppose one !ould !all it a series of s2et!hes for ho.ith (hrist (“5ere is #y hand G Ho.es the separate pie!es fro# ?'y 0ather@ into an entirely ne. While at ti#es one suspe!ts this the#ati! a#bition of !o#in$ un)stu!2 in the $rand tradition of over)rea!hin$ pro$)ro!2 !on!ept albu#s in the end it's just about va$ue enou$h to avoid su!h po#posity (even su!h apparently si#ple son$s as ?1eelin$ the 6iars +n@ !an be read in several different .ish)fulfil#ent fantasy (for a #o#ent + thou$ht this #i$ht be a politi!al son$ about burnin$ Bush (heney et al on a bi$ fire" to a sense of personal !ulpability (“5ere is #y ton$ue G Ho.n voi!e less on si#ple son$ stru!ture less on ro!2)based rhyth#A in effe!t it@s a totally different pie!e and one that@s equally if not #ore !o#pellin$ than the ?#ain@ albu#.'epi!' alt)ro!2 sound thou$h suffused .hi!h . %hus dependen!y and the need for love in personal relationships are equated .hile even if he tends to deploy it for 'resonant' $eneralised effe!t (in !ontrast to the detailed o!!ultGtheolo$i!al spe!ulations of David %ibet". +n a tra!2)by)tra!2 analysis of ''y 0ather Will Guide 'e' on %he Vuietus .t !hillin$ly #ovin$ fro# $leeful 'us)a$ainst)the#' .o)!hord patterns fro# or into !louds of 6i$eti)esque or!hestral dissonan!e pro!eedin$ fro# quieter #o#ents su!h as the start of the albu# in .ans' 'industrial' period in . those son$s .hi!h is potentially blasphe#ous in its vis!eral identifi!ation . %he #usi! itself thou$h is anythin$ but flippant& essentially Gira re#i.ho is after all #etaphori!ally des!ribed as a lover in %he 5oly Boo2 itself". drive the nail in”". +f you find ?'y 0ather Will Guide 'e@ at all !o#pellin$ it@s .hat flippantly entitled ?6oo2 at 'e Go@. <i#ilarly the se!ond)tra!2's !a#pfire sin$)a)lon$ '1eelin$ the 6iars +n' (probably the !losest the re!ord !o#es to hu#our (dar2 and t.tures of <. <on$s .as '!o. 6yri!ally Gira has been interested in (hristianity for a .n te.tures and less on his o.as front)and)!entre and to. %he se!ond is perhaps #ore substantial (thou$h less ?<.hi!h a lot of effort has been put as attested by the asso!iated ?before@ and ?after@ releases.hat e#er$es here thou$h does see# to have been !rafted (li2e the albu# in $eneral" to tread a !ertain just)about)!ohesive the#ati! line.

a 'u2ashi.ophone (L".pie!es& to$ether they for# a trilo$y of so#e depth that illustrates just ho./ohn 7d.s.ards and 6evin is !lose)2nit) they are fluent in the sa#e lan$ua$e and the intera!tion is su!h on the title tra!2 that + find it hard to de!ide if so#e sounds are due to prepared piano or #elodi! dru##in$.ith /ohn 7d. 0or so#eone noted for her su!!ess at re!onstru!tin$ ja44 !lassi!s (T#a2in$ it ne. -4'2 A+I TA+ASE.ophone. #u!h <. (ersonnel: A2i %a2ase& piano.<teinblo!2. %hese live re!ordin$s #ade in /une C99P at Gateshead feature three solo piano tra!2s five trio tra!2s .(ell (ulture.T" fro# the past (0ats Waller W.BOBOO+#a .'en are <hado.elease 4ate: C9E9 Tracklist: <urfa!e %ension. % /((< /(NT BY 5a0el: psi .(./ohn %!hi!ai& alto sa.ards& double bass (E)K O P"%ony 6evin& dru#s (E)K O P".5andy *rnette (ole#an a#on$ others" in a refreshin$ly non)neo)!on #anner this albu# features %a2ase in a !o#pletely i#provised set.ards bass and %ony 6evin dru#s plus one duo tra!2 .ith /ohn %!hi!ai alto sa.Du#eta#a$o. %he intera!tion .orld !lass #usi!ians 7d. As far as + !an tell %a2ase is sparin$ in her use of ./ust Drop +n.o .ans have #orphed sin!e their initial in!arnation.A Wee2 Went By.ith those t.

ith it.orth hearin$. Given that a total nu#ber of only CB !opies have been #anufa!tured one #i$ht say that ?bu$@ . %hey .hi!h is interestin$ and valid up to a point but on this albu# at least . her albu#s of re!onstru!tions fro# the past." %he duo tra!2 .orld ?su!!ess@ but be!ause he .ith 'in$us. *n the !losin$ tra!2 a #editative al#ost strea#)of) !ons!iousness solo + dete!t so#e da#penin$ of strin$s probably fro# inside the piano but on Ima wa *ukashi (another solo tra!2" an e. %he .t ti#e she pays a visit./.o of the# are joined by D.n .tre#e per!ussive atta!2 sets up a really !ontinuous barra$e of overtones. 5e doesn@t .ullen %ristano <!hlippenba!h or any other pianist.orld of ?the art #ar2et@. But + don@t #ean this phrase to !onnote .ith syn!opation .ay.orld of !onte#porary #usi! #ar2etin$ . As + . Bill <hoe#a2er in his liner notes dra.as apt to $ive his audien!es parti!ularly durin$ his stay .e don't hear the 2ind of potted history of ja44 piano in five #inutes Byard .ho 2no.rote about the last tus= release (out on net)label <to.ith <!hlippenba!h on #ree8one pple'y 455?% or .esG loopers Additional In&ormation: 6i#ited availability.here the produ!tion of the (D and attendant pa!2a$in$G printsG dra.as a ?li#ited edition@ release.ants it out there be!ause he .s a !o#parison .ith /ohn %!hi!ai is quite spe!ial.is or 6es '!(ann but qui!2ly subverts this tenden!y har#oni!ally rhyth#i!ally and in just about every other possible .e have albu#s li2e this to play till the ne.ith it deal . <tuart (hal#ers has #ade this #usi! and released it on these CB (Ds not as a #eans of $ainin$ !riti!al and finan!ial !apital in the !o#petition for art .ith /a2i Byard . <he indul$es briefly at one point in so#e blues !li!hXs I la 1a#sey 6e.ant you to !onsu#e it in one bi$ unthin2in$ s.!onta!t s2arabeeflive.s in quotes li2e the ostinato riff fro# "ight in Tunisia% or the openin$ of &pistrophy raises the question if this . but to di$est it perhaps disa$ree . <in!e she has not played in this !ountry for so#e ti#e no.a#ples of her per!ussive or overtone approa!h !an be heard in the duo .ok 50 . <he #ay have ta2en a hint fro# (e!il %aylor's re#ar2 about the piano bein$ Tei$hty)ei$ht tuned dru#sT but applies it in her o.onder if any #ore duo tra!2s by these duo are lyin$ on a shelf so#e.in$s et! see#s !al!ulated to $ive the release the status of ?art obje!t@ and thus to enter into the nefarious .o#ine 1e!ords" . .ithin syn!opation a 2ind of syn!opation squared or !ubed.ould definitely be .ants you to hear it. %his 2ind of hu#our should be fa#iliar to those .allo.here.here the t. -S+2 tus+ H B*G 5a0el: <elf)1eleased .u2. %he #ost stri2in$ aspe!t is the rhyth#i! as the pie!e is dense .ould say this is pretty essential listenin$." + .hat + parti!ularly li2e about this .!o. (<o#e other hi$hly listenable e.ay %!hi!ai thro.hat it so often see#s to in the .ay.as #eant be an enor#ous syste#ati! deran$e#ent of all the senses of bebop (to adapt 1i#baud's phrase. <he does not sound li2e a pasti!he of %aylor .elease 4ate: *!tober C9E9 Tracklist: E9 >ntitled %ra!2s (ersonnel: <tuart (hal#ers& bu$brand os!illator #a!hine and effe!ts bo.ith it ta2e issue . +f you already li2e A2i %a2ase's #usi! + .+llvibe.the prepared approa!h.

hite noise hiss #o#ents to #ore traditionally ?noisy@ blares and $rinds and on the first tra!2 to surprisin$ly deli!ate hi$h)pit!hes poppin$ around li2e fire. $eneration of players .as released on (uneifor# in C99: but sounds li2e it !ould have been re!orded forty years earlier !learly har2in$ ba!2 to E:89s Blue Hote dates by 7ri! Dolphy (it shares the instru#entation of ?*ut to 6un!h@" and Andre.ards the end of the for#er /osh Ber#an's !ornet playin$ in!orporates the breath)sounds $ro.ls and burrs in!reasin$ly in use by a ne.IEF KASON A4ASIEWICP'S . All the !o#positions save the 5ill tune are by leader /ason Adasie.!itin$ly !ontin$ent nature of spontaneous thou$ht.it!h to !larinet leadin$ to #ore slurred and blurred arti!ulation.or2in$ throu$h .a2e@ in .hat it does al#ost of its o.ith little !ir!uits and s.ished to dispense .ith the #ost deli!ate of adjust#ents to avoid u$ly !haos.hole physi!al obje!tG pa!2a$in$ aspe!t of thin$s alto$ether and present the listener . %hus . 0or #e the dis! hi$hli$hts are '5ide' and '.O554OWN H 2%RM)NT -Cunei&orm2 %his albu# by a (hi!a$oan quintet .ritten .ith the .ho straddle the line bet.proje!t is ho.tends to the pa!2a$in$& a sin$le silver printed (D .ho ed$es a.o pie!es to be . What + hear on this (D is (hal#ers en$a$in$ .ith the #eans of produ!in$ sound& the afore#entioned !ir!uits and s.ood)sheddin$.hat he .or2 spar2lers. unadorned it is A and in this !ase that e.hi!h the re!apitulation of the #elody is #ar2ed by 0ran2 1osaly@s underlyin$ dru# solo A a ni!e tou!h. %o. *n the latter it's Ara# <helton .as if he@s findin$ out . Goin$ for a sound so !lose to that of one@s inspirations is a ris2y business but 1olldo. %his isn@t trial and error thou$h for he@s !areful to s!ulpt the sound into stru!turally !oherent shapes often fo!usin$ on a parti!ular area of sound for the duration of one tra!2.ith the albu#@s na#e and an e)#ail address.n volition.it!hes volatile and hard to !ontrol ne!essitatin$ a !lose ta!tile en$a$e#ent .ithout !hord !han$es.ith a purely aural do!u#ent.eter 7vans.here he tends to sti!2 to #ore !onventional ti#bres than the li2es of %aylor 5o Bynu# Hate Wooley or . %he title ?bu$@ doesn@t refer to the inse!t nature of the #usi! (re#e#ber the ter# ?inse!t i#prov@?" but to the instru#ent used& a bu$brand os!illator #a!hine a tiny thin$ .hose vibes float and stin$ suspendin$ sustainin$ and sharpenin$ notes in the $rand tradition of Bobby 5ut!herson and solos are fine and dandy all round even if none of the #usi!ians !o#e a!ross as truly distin!tive i#provisational thin2ers as yet.ants the thin$ to do and . -4'2 IN ".hose na#es are ne. 5ill (.hat@s possible as he $oes alon$ .no tra!2 titles no liner notes as if (hal#ers . *ne #i$ht be te#pted to thin2 at ti#es that (hal#ers is runnin$ throu$h li!2s or tri!2s e.i!4 .un!hbu$' .e have #o#ents dedi!ated to faint . to #e .hi!h also happen to be the only t. Also notable is the ostensible ballad feature ?+ 5ope <he is A.ay fro# the post)bop #anoeuvres his s.hose '%he Griots' is !overed at the end of the dis!".ith the #e!hani!s of the bu$ tryin$ to ensure a balan!e bet.n just about #ana$e to pull it off and if their #usi! is not yet on the sa#e level as that of their forbears A their playin$ sounds less ?#odern@ than that of either Dolphy or 5ill A they are li2ely still developin$ and 'Mar#int' #ana$es to avoid bein$ a .!ept that it@s !lear he doesn@t have a safety net A no !hord !han$es or standards for hi# A so that this re!ord of pra!ti!e (or pra!tise?" is for#ally !lean not #essily hit)and)#iss but still possessin$ so#ethin$ li2e the e.een .it!hes #ust be #anipulated .een i#prov and ja44 thou$h else.

or2 throu$hout A un) sho. %he aestheti! at least at first is !ut)up qui!2)fire ja$$ed. 'God of De!ay' for .s .hat else to !reate surprisin$ te.ever on!e one $ets into the rest of the albu# one reali4es that it@s a!tually typi!al of the #usi!al lo$i! at .hi!h he uses his real na#e do!u#ents his latest preo!!upation .oo4y and star2 stripped)ba!2 slo.ith ea!h ne. E. At first one #i$ht thin2 that ?1ana <ylvati!a@ fun!tioned as a 2ind of prelude . 5o.hat one .released cassette2 <tuart (hal#ers see#s to !han$e his set)up . *n so#e tra!2s su!h as ?Messel@ this approa!h doesn@t really do #u!h to !at!h the attention.perien!e as a free i#proviser #eans that he has a $ood feel for the overall shape and stru!ture of a pie!e and he subsequently introdu!es lon$er)lastin$ al#ost droney se!tions based on $uitar)pedall'd loops and less freneti! #o#ents in . and forebodin$ but .hole is less deliberately bloody)#inded (#ore sparse?" than your typi!al Hoise release.y perhaps so#eti#es a little !autious .!asin$.n fast)for.ith its tre#blin$ rhodes piano surrounded by o#inous !o#puteri4ed drones and !li!2s dru#s fun!tionin$ as nervous ba!2$round .ound and $od 2no. &4 .ith in2lin$s of be) fo$$ed prettiness li2e those #o#ents of fu44ed inso#nia before sleep finally !o#es.ith a distin!tive !olour derivin$ fro# the !o#bination of tro#bone and ele!tri! piano.$iven the silen!es bet. 5o. %he re!orded sound is lovely !risp and !lear and there are so#e involvin$ #o#ents thou$h there is also a tenden!y to #eander so#e.(3 +&-)T*. +t's a li#ited edition of !ourse but it !an be do.T C. usin$ a li$hter" this isn't e.A5ME. of 'bu$' in this issue".ever (hal#ers provides a very quiet !on!lusion by .in$ ?<he 5aunts 'e@ (.ho@ve !reated it 7r$o play #oody ?post)ja44@ (+ suppose that@s .havin$ i#pressed .es adds a sense of unresolved .ebsite in '. STDA.ould !all it" .ash rather than as drivin$ rhyth#i! for!e. %he band . When sped)up the sound that #ost readily !o#es to #ind is that of !hirrupin$ birds but as indi!ated by the doo#)#etal)type)title and the retro)Hoise)!assette pa!2a$in$ (.ith strate$i!ally)pla!ed holes burned into the plasti! bo.nloaded fro# the 00' 1e!ords .repertory)type display for the #ost part.hat.S .hisperin$ rustlin$ 2ali#ba)do#inanted '%lon' released under the <2arabee #oni2er he then turned as 'tus=' to harsher #ore rhyth#i!ally)assertive #usi! produ!ed usin$ a bu$)brand os!illator (see revie.a!tly a 'pleasant' re!ordin$.ploration of those louder !li#a.'O H M*-T)T*.arded re).hi!h one !an hear #otifs and ideas bein$ developed at $reater len$th.ho.ed do.ith the .ith a preferen!e for at#osphere rather than for soloisti! sho.ever (hal#ers' e. G&. albu#.hi!h sounds pretty #u!h throu$h)!o#posed" it really pays off.i!e and the fa!t that it doesn@t lead into any e.( -Cunei&orm2 <ober restrained so#eti#es lethar$i! and even depressive ?'ultitude <olitude@ is !ertainly a distin!tive listen if not a very !o#fortin$ one.but on the follo.ith the use of !assette tapes ) sped up slo. %he se!ond side uses a little too #u!h reverb for #y li2in$ and is #ore ear)!run!hin$ in effe!t.tures.een sounds (so#eti#es ta2en up by that eerie pre)e!ho you $et on !assettes" the bursts and blares and blurts of volu#e !an see# li2e sudden $un)blasts. %he effe!t is at on!e .(C%Y -sel&.tended i#provisational e.ay of !ontrast and the albu# as a . (arl 'a$uire plays a !hord pro$ression that slo.K for#at.ly pushes up the 2eyboard in preparation for the !li#a!ti! entry of Brett <2ro2a@s #ulti)tra!2ed tro#bone(s"this build happens t.

hose tastes have #oved fro# free ja44 to free i#prov in re!ent years that there is still .ecords2 %his release see#s to have !onvin!ed a fe.er (so#ethin$ +'# a little s!epti!al about at ti#es but .hile distortions and e!hoes rise and fall underneath so#eti#es rea!hin$ volu#e) overflo.5DC 'DIONNET< C5A3TON T.asn't that i#pressed by the /oo2lo Duo . %here's so#ethin$ bare yet pun!hy about the sa.or2 here.arriors po. Given that free ja44 often lends itself to spra. pie!es often !ra. %he $eneral ethos at .pe!t than to a 2ind of a#bient ja44 /afrate's sa.or2 as #u!h as anythin$.plore in the for#er field.pe!ted loud and .ay.hi!h is undoubtedly deliberate and is perfe!tly in 2eepin$ . O.hat different fro# all these A too a!tive to produ!e $enuine a#bient #usi! the band nevertheless avoid settlin$ into $rooves. 7asy to overloo2 but vital to the albu#@s overall sound are the !o#puteri4ed eddies ebbs interje!tions that slip in and under the !ra!2s of the #usi! at on!e fillin$ it out and addin$ a needlin$ sense of un!ertainty.fro# fil# soundtra!2s .ophonist /ean)6u! Guionnet develops his playin$ in !ellular repetitive #elodi! units that re!all 1os!oe 'it!hell's solo ..ith little let)up.fro# ja44 a 2ind of blueness and #elan!holy and ele#ents of i#provisational vo!abulary.e@ll let that pass" and the #usi! is as e.e $et a so#e.FEO > H % Y(%R &N )C( -T!e Word . KOO+5O 4DO H T'( /%RR)&R (Nort!ern Sp12 + .te#pos are 2ept slo.ophone soloin$ in #y ti#e Genta's playin$ at the very be$innin$ is up there . But there is indeed so#ethin$ different about it A probably the #ethod in .fro# a#bient #usi! an avoidan!e of $roove an anti)develop#ental stan!e. *n paper it loo2s life a fairly standard)issue release.fro# alt)ro!2 !ertain types of !hord pro$ression.OMAS< WI55 'DT.ith the #ost for!eful loud enou$h to !arry a!ross valleys li2e so#e an!ient soni! si$nal.ophone s2atin$ over i#a$inary !hord !han$es . KEAN.ith the lo$i! of the re!ord as a .hi!h sa.orth.orth.a trio of sa. %here are a host of influen!es at .o tra!2s one for ea!h side of the OT. in +ssue E" but this short release su$$ests they #ay have so#ethin$ #ore to offer.in$ in 'field re!ordin$' sa#ples . Hi!e stuff.hen + sa.the titles use the fa#iliar free ja44 ter#inolo$y of fire . !riti!s .tension .tended for#s it's ni!e to hear su!h a !on!entrated burst and hopefully this ti$htness and !on!ision !an be translated into future full)len$th albu#s.hile #aterial left to e.ophone bass and dru#s playin$ len$thy hi$h)te#po i#provisations. the# supportin$ <onny <i##ons F %i$ht 'eat ba!2 in C99O (see revie.IE H T'( %M(+ R&&M -Monot1pe . so#eti#es loopin$ so#eti#es thro.ards the ele!tro)a!ousti! i#provisation one #i$ht e.or2 thou$h is so#e.hat episodi! stru!tural sense. %his a very !onte#porary re!ord due not only to its ran$e of $eneri! referen!e but also to its e#otional su$$estions its bleary)eyed four)in)the)#ornin$ blin2in$)%M)s!reens)in)hotel) roo#s resonan!es.hile.Gduo for#at and thou$h +'ve sat throu$h (and enjoyed + hasten to add" so#e paint)peelin$ sa.oard2 %his duo for sa.lin$ to !res!endos and disinte$ratin$ ba!2 al#ost strai$ht a.ophone (=eith /afrate" and ele!troni!s (<haun Ble4ard" leans less to.hole.lin$ and e.. %here are t.

ei$htless earthy and spa!ey and spa!ious all at on!e ?<aturnian@ is a fittin$ return and a fine perfor#an!e fro# one of the #asters of this #usi!.E H +%T*RN)%N (+&-& +%=&. 0or #e the ele!troni!s are not that !hara!terful !o#in$ a!ross as rather sa#ey and la!2in$ a !ertain intera!tive bite. +nstead as this re!ordin$ attests he .er.as for!ed to dra. +t helps here to reali4e that the ?spiritual@ is never too far fro# the ?se!ular@ A . Wei$hty yet . 4A:I4 S9 WA.e!ution.hen the $roove be!o#es ?dirtier@ and /afrate lo!2s in for so#e attra!tive rhyth#i! playin$.panded e.in$ and lan$uorous on!e a$ain". <hipp Willia# .ar2er)li2e !ir!ular fi$ures. +n !onte.enty years or so by 'atthe.ith e.ploratory lines that be$in to in!orporate #ultiphoni!s and 7van).etter 'olvaer .ith e#phati! $roundin$ stro2es.ays al#ost jo2in$ly A the #usi! doesn@t feel po)fa!ed despite the ?spiritual ja44@ a#bitions and has a so#eti#es qui. 5alf).itness 1ay (harles A and Ware@s !hara!teristi! blend of ?$odspeli4ed@ #elodi!is# and other).ophone re!ital.ophone parps and shrie2s (thou$h thin$s soon be!o#e flo.ploration of the hi$her re$isters is grounded rooted in the earth as #u!h as it is orbitin$ the planets.ar2er and a su!!ession of dru##ers he !ould not afford hi#self the lu. *n ?+ 6oo2ed Ba!2@ the .hi!h !an tend to be rather too stiflin$ly pretty.ispy #elodi!is# dren!hed in distant reverb stron$ly su$$ests Hils .ury of stret!hin$ out at len$th over a reliable and !ontinuous ba!2drop.ithin su!h a settin$.in$ up a ball in the air and !at!hin$ it A lendin$ the perfor#an!e a sense of ris2 a dartin$ s2i##in$ sense of #ove#ent and e.on ?'ethone@ in parti!ular his tone has a lovely fluidity soundin$ reedy and al#ost *riental as he $lides up to hi$h re$isters and s.in$ of instru#ental !hallen$es a solo sa. %hou$h he@s often noted for his ?#us!ular@ sound it@s !lear fro# the start that his playin$ has #ore to offer than just sheer po.hile ?dus2@ opens .hi!h is not ne!essarily a bad thin$. %hat said there are attra!tive enou$h #o#ents if one is prepared to let the #usi! drift in and out of full attention A to pra!ti!e a 2ind of ?ha4y listenin$@ as opposed to ?!lose listenin$@ .n .hilaration .oti! liveliness to it a de!la#atory and sin$in$ ur$en!y and a fi44in$ ener$y easily #iti$atin$ a$ainst the dan$ers of austerity and ti#bral li#itation that #i$ht have been found .hi!h never detra!ts fro# the !onsu##ate s2ill in e.as hardly playin$ it safe . -4'2 .as provided for hi# durin$ the previous t. 1ather than utilisin$ !ir!ular breathin$ Ware .hen he !hose for his first publi! perfor#an!e sin!e re!overin$ fro# a life)threatenin$ illness to underta2e one of the #ost ta.or2s throu$h phrasal develop#ent A #elodi! fi$ures repeated elon$ated e.t thou$h it perhaps adds a little #ore bite to the i#provisations .oops ba!2 do.there@s a sense that Ware is ju$$lin$ .istful .orldly e.'&N(+3 2&-" 1) -ADM Fidelit12 David <.ith his spontaneously)!reated #elodi! fra$#ents A li2e thro. At ti#es as noted it@s even playful.pounded on. +@# not sure about the addition of a rather stiff pro$ra##ed dru#)beat on ?later and later@ A thou$h there are #o#ents .and those resour!es are !onsiderable.ay throu$h the len$thy title tra!2 a se!tion of feedba!2)tin$ed ru#blin$s and !ra!2lin$s #oves thin$s into a #ore 'abstra!t' area (thou$h even here the use of delay adds a 2ind of #eanderin$ dire!tionality to pro!eedin$s" before /afrate bursts out .(snat!hes of bird)son$". Ware .hi!h . At one point a bluesy fi$uration is tried out a !ouple of . Without the propulsive often $roove)based rhyth#i!al a!!o#pani#ent .ith #ore abrasive sa. alone on all the te!hni!al and or$anisational resour!es at his disposal.

*liver 6a2e.bell.(larity (L".also ) o!!asionally ) as fol2)!lub sin$er)son$.riter and perhaps less than one #i$ht thin2 as i#provisin$ ja44 #usi!ian.ide)open !on!eption of $enre . Dor2 'i!hael Gre$ory /a!2son (subsequently 2no.e very #u!h hear /a!2son as !o#poser.AE5 '. A player asso!iated . *ne notable thin$ about the re!ord is /a!2son's refusal to play a supportin$ role his !ontinued insisten!e on bein$ a 'lead instru#ent' alon$side the horns (in !ontrast to say the #ore ja44)fusion) flavoured 'Gifts' fro# E:O:".Wadada 6eo <#ith& tru#pet F soprano tru#pet flu$elhorn +ndian flute Additional In&ormation: *ri$inally re!orded in E:O8 (in HD( 5artford F 6A" F released in E:OO.ith his #ore fa#ous na#e)sa2e" adopted that #ove#ent's ethi! of #ulti)instru#entalis# and a .Ab Bb E)O)Ko.istful so#eti#es astrin$ent sensibility.ISSDES MIC. %his is after all his re!ord date these are his pie!es- .)Dis2 .Ballad.E'O.3 KAC+SON H C-%R)TY 5a0el: 7<.A Mie.David 'urray& tenor sa.relueoionti..)Dis2 ..ith the '6oft /a44' #ove#ent of late 'O9s He.n si#ply as 'i!hael Gre$ory in order to avoid !onfusion .ophone tal2in$ dru# !o.elease 4ate: C9E9 Tracklist: (larity.E.*liver 6a2e& flute soprano F alto sa. of %his 6ife.+*'+ (ersonnel: 'i!hael Gre$ory /a!2son& a!ousti! F ele!tri! $uitar vo!al ba#boo flute ti#pani #ari#ba per!ussion.edded to a distin!t !o#positional ethi! and an ele$ant so#eti#es . *n this his first release but one of the last to !o#e out on 7<.

ture or #elodi! i#pulse. 7lse.as only CK .ellin$ up to a stron$ly stru##ed !li#a.in$ dialo$ue never !ontent to settle on any one te. %hat said .eet)toned sa.e hear on the rest of the re!ord and a fine e.ere it not for the applause at the end of the pie!e and a sin$le stray !ou$h.hi!h so#eti#es (to #y #ind" sit rather un!o#fortably .er #ore pensive approa!h a2in to !ha#ber #usi! and the te.ere re!orded so perhaps those .hat .ith the #ore obviously ?for#al@ #aterial.n to !at!h the breath in reverie then on!e #ore buildin$.and truth be told on repeated listens the albu# see#s #ore !ohesive than +@ve #ade out.a!tness ea!h !o#ple#entin$ the other and 2eepin$ the te. +t@s !ertainly quite different to the rest of 7<.ophone flurries are joined by <#ith@s #uted trills 'urray@s barely)audible breath)tones and /a!2son@s a!!o#panyin$ !hords.n.hen these sele!tions .eet his flute #ellifluous and floatin$ and /a!2son@s $uitar #er$es .ture fluid and un!luttered.a#ination. 5ere /a!2son !on!entrates on alternatin$ !y!li!al patterns and #elodies the rhyth#i! #o#entu# s.n in a studio .ay .orth a !loser e.@s output the absen!e of dru#s ensurin$ a $enerally slo. ?(larity (L"@ finds /a!2son #ovin$ fro# $uitar to a variety of per!ussion and .it has integrity% and is very #u!h .ere deliberately reinin$ the#selves in (!o#pare for instan!e the readin$ of the title tra!2 here . 5ill@s pie!e ?0aded Beauty@" .ith .hole .ind instru#ents A $on$ #ari#ba ba#boo flute A in a free)flo.as !apable of.ith the #u!h looser #ore freer)flo.riter #aterial and the #ore spindly dra.ho# he re$ularly played as a side#an" David 'urray and Wadada 6eo <#ith. 0or the #ost part 6a2e 'urray and <#ith play /a!2son@s !o#positions in #elodi! unison only o!!asionally #ovin$ into i#provised se!tions .in$ rendition on the ?Wildflo.ers@ 6oft /a44 Antholo$y .hatever #y personal jud$e#ents ?(larity@ never feels false or hollo.here thou$h su!h a balan!e proves harder to attain. +t@s a #o#ent that sounds totally spontaneous yet every individual fits into the .ith a shi##erin$ !o#bination of ar!o bass and !y#bals". +n the end + find #yself !ravin$ #ore #o#ents in the vein of the $or$eous se!tion near the end of ?+*'+@ (a tra!2 .ith the horns of *liver 6a2e (.here 6a2e@s sa.hi!h for so#e reason re#inds #e of Andre.ith a rhyth# se!tion alto$ether !hoosin$ to pair hi#self instead .a#ple of its 2ind. <i#ilarly /a!2son@s vo!al on the title tra!2 su$$ests an intri$uin$ #arria$e bet.ith deli!ious for#al e.ay? +n fa!t /a!2son does a. -4'2 .here 6a2e@s s. /a!2son . +t's no #ean line)up !ertainly and if the results don't quite deliver on the !aliber pro#ised by those na#es it's for reasons that are rather hard to pin do.n)out unison lines played by the horns but it re#ains a one)off the only ti#e voi!e appears on the re!ord.ould i#a$ine this to have been laid do. %hin$s are in fa!t al#ost too !lear too !lean as if the #usi!ians .istful sin$er)son$..ho's to say a $uitar should al.ho supervised the albu#@s produ!tion .and . +t@s the sort of thin$ that had been pioneered by #e#bers of the AA(' and it@s an approa!h that often produ!es fas!inatin$ #usi! but it@s #aybe best suited to lon$)for# pie!es and here it feels as thou$h there@s never quite enou$h ti#e for thin$s to develop. Ar$uably the #ost !ohesive and !ertainly the #ost i##ediately attra!tive tra!2 is ?.!ase everythin$ he .tural !o#bination of brass and $uitar is one not $enerally found in any $enre.relueoionti@ a solo $uitar pie!e re!orded live in 6os An$eles A thou$h the audien!e are so quiet and attentive one . +t@s very at#ospheri! sunli$ht)dappled #ore in the ?fin$er)pi!2in$@ tradition than the !o#positions that #a2e up #u!h of .een .ere 2een to sho. before dippin$ ba!2 do.ophone is tart yet s.ays be part of the 'rhyth# se!tion' any.

<i##ons stands on a ro!2 to.perien!e of the !ity of the !onte#porary !li#ate of life as it is but at the sa#e ti#e ?loo2in$ ahead@ su$$estin$ . <i##ons had #ade his first visit to He.<onny <i##ons& alto sa.hi!h the 7<.erin$ over the He.ith . Dor2 (ity s2yline on .hite photo$raph of the artist ta2es up the entire spa!e a stri2in$ and intri$uin$ visual state#ent that still $rabs the attention on the o!!asion of the albu#@s re)issue.hi!h he has turned his ba!2 loo2in$ out of the fra#e as he plays his horn. %hou$h adventurous and to this day essential listenin$ the resultant albu#s did rea!h the e.tre#es of dissonan!e ti#bral distortion and pulse)playin$ that !hara!teri4ed #u!h of the ?He. Dor2 (ity in E:8K .hen he had re!orded a nu#ber of sessions .ho sees ahead . %here is no printed infor#ation no letterin$ on the front !over of <onny <i##ons@ E:88 albu# ?<tayin$ on the Wat!h@.instead <andra <toll#an@s bla!2) and).)Dis2 . %he pose he stri2es is defiant !onfident bold.attillo& per!ussionBarbara Donald& tru#pet. %hin$@ #usi! .)Dis2 label .hat the future #i$ht brin$ A as the re!ord@s title su$$ests he is si#ultaneously a .elease 4ate: C9E9 Tracklist: 'eta#orphosis.SONN3 SIMMONS H +T%Y)NG &N T'( /%TC' 5a0el: 7<. Additional In&ormation: *ri$inally re!orded F released in E:88.+nterplanetary %ravellers (ersonnel: %eddy <#ith& bass.A Distant Moi!e.at!h#an and a ?seer@ so#eone .he is playin$ fro# his e./ohn 5i!2s& piano.(ity of David.'arvin .rin!e 6asha.ith 7ri! Dolphy and .ho offers us a share in that $li#pse.

n in #ainstrea# !onte.as !lear that a definite #ove ?out. %hus it .ays in .ay.hite)hot A .o approa!hes A but as the solo !ontinues it@s as if so#ethin$ suddenly !li!2s into pla!e the player and listener both ?$ettin$ it@ or ?$ettin$ into it@.hel# the sin$le)note lines (perhaps due to the rather bo.the pianist /ohn 5i!2s .lin$ but ti$ht !o#pa!t A a ball of ener$y pa!2ed into forty)four #inutes that fairly speed by.een the t.o#an.ith a rhyth#i! sprin$ in his step..here . 5i!2s li2e '!(oy %yner !o#binin$ busy ri$ht hand runs .ho .hose only other appearan!e on re!ord is .it!hes to #ore standard ja44 !o#pin$ $ivin$ her solo a ?freebop@ feel A indeed Donald at one point plays a line that sounds fairly si#ilar to so#e of the #ore a$$ressive phrases 'iles Davis . note %eddy <#ith ta2in$ over bo. sessions finds <i##ons leadin$ a quartet !o#prised of his .as stood out in the ja44 .attillo ..as be$innin$ to e#ploy durin$ the #id)89s. (%he three years in bet.hite and a . %he runs be!o#e freer #ore dissonant interruptin$ the lo!2ed)in !hordal ju$$ernaut (.ts (previous to his . 5er solo ends . Bris2 openin$ and !losin$ #elodi! state#ents lend pro!eedin$s a !risp and bra!in$ ed$ethou$h tra!2s are fairly lon$ (lastin$ fro# seven to thirteen #inutes" the session doesn@t feel spra.hen on his ne.een the t.ho .ed and #elodi! serious but . When 5i!2s settles on a rollin$ lo.ift unison it sounds li2e an openin$ fanfare an injun!tion to ?listen upU@ %he leader solos first his alto pit!hed hi$h and ed$ed rou$h thou$h this is !ertainly not a ?s!ree!h)fest@ A listen to the . %his is !learly not a thro.y re!ordin$ quality?". %he the#e)solos)the#e for#at is #ostly adhered but also deviated fro# in . >nder Donald@s tru#pet 5i!2s s.be!a#e so interlin2ed.ith a !risp and !lean arti!ulation often at hi$h te#pos before ea!h player #a2es their individual #ar2 throu$h e.or2 .ards@ had ta2en pla!e in <i##ons@ #usi! .ays that 2eep the #usi! stru!turally fresh avoidin$ the by)rote orderin$ that besets even so#e ostensibly ?free@ re!ordin$s fro# this period.!han$in$ #elodi! lines in a #anner that su$$ests parallel i#provisation than ?soloist@ and ?a!!o#panist@.bassist %eddy <#ith better)2no.ith 1FB phrases that disar#in$ly pop out of no.hile Donald #a2es !onfident free)bop state#ents.e !an only $uess at the .ith a sustained lo. And one has to ad#ire the .hi!h he jer2s .t visit to He.ever the !hords at least initially threaten to over.tended solos. 5i!2s #a2es interestin$ play out of '!(oy %yner)esque !hords <i##ons !o#bines a fero!ious tone A s#earin$ searin$ .o visits #ust have been a fas!inatin$ ti#e of develop#ent but as no re!ordin$s survive fro# this period .orld of the ti#e (and still stands out" for bein$ both .ith left)hand !hords plon2ed out at re$ular rhyth#i! intervals.ay in . Ho. ?'eta#orphosis@ thou$h still !redited to <i##ons is apparently an adaptation of a !o#position by the late Bill Di." ?<tayin$ on the Wat!h@ the first of the 7<.and dru##er 'arvin .ould $o on to have a lon$ and prolifi! !areer playin$ up until his de#ise in C998.o sessions for 7<. Dor2 he re!orded t.ay he and 5i!2s #irror ea!h)other e.n)to$ether session A the playin$ is ti$ht and to$ether openin$ !o#positional #aterial delivered .haroah <anders@ debut re!ordin$ also for 7<.hi!h nevertheless soon $ets itself ba!2 into $ear" and there #i$ht see# to be a sli$ht disjun!ture bet.ife Barbara Donald a fine player .unli2e %yner ho.hi!h !han$es be$an to #anifest the#selves.er re$ister fi$ure a!!o#panied by strin$ plu!2s that sound quite different fro# the usual ?inside)piano@ forays it feels apt but surprisin$ in the best .as played here in s.on.ith <i##ons he had appeared in $roups led by Betty (arter 5ora!e <ilver /a!2ie '!6ean <lide 5a#pton and <onny 1ollins".

or2 and both players sound !losely attuned to ea!h)other !arefully and subtly blendin$ . Ho.t pie!e ready for the future ?stayin$ on the .ith all the the#es on this re!ord it@s snappy but not riff)li2e or ?easy@ in the sli$htest.ed vi$our ur$ent yet $randiose repetitions A 5i!2s enthralls al#ost by dint of sheer persisten!e. Dru#s lead ba!2 to a brief passa$e .at!h@.hilaratin$ runs.ellin$ !odas here (those !odas pushed to their full potential by 1oland =ir2 in the !on!ert fil# ?+ 7ye Aye@ . As .in$ in an 1FB li!2 early on holds hi$h questin$ tones built up to fro# !orus!atin$ e.ard rush.o parts& an elon$ated initial #elody leads to a faster repeated se!tion. <i##ons over just bass and dru#s $oin$ fast startin$ out .ith a snapped ed$e . +nstead <i##ons F (o.hat has just happened ready for the ne. And then a qui!2 unison flourish to end.tre#e sta!!ato arti!ulation thro.o) #inutes of dissonant !losin$ poundin$ sees =ir2 s#ashin$ a !hair on)sta$e as thin$s threaten to erupt into an e!stati! joyful riot". ?(ity of David@ the re!ord@s lon$est tra!2 opens at a si#ilarly slo.n fro# the pre!edin$ hi$h)te#po playin$ into so#ethin$ #ore spa!ious breathable.in$ thin$s deliberately off)balan!e ar!o bass #a2in$ its presen!e felt so#e.urious distorted play on fanfare fi$ures soon $ivin$ .strai$ht out of his solo journey to play the returnin$ full)band the#e in perfe!t tone and ti#e.ith a hi$h sta!!ato passa$e of $reat virtuosity not that dissi#ilar to the sort of thin$ one #i$ht hear played in !onte#porary ?7uropean 0ree +#provisation@. ?A Distant Moi!e@ provides a ni!e !ontrast in #ood te#po and !olour bein$ a duet for <i##ons and <#ith that see#s in lar$e)part to be throu$h) !o#posed.n in order to prepare us for a breather after <i##ons@ i#passioned state#ents but instead . A tou!h of $ospelly arti!ulation ri$ht)hand runs .indin$ thin$s do.here the the#ati! restate#ent is #an$led into parallel i#provisation for the horns <i##ons@ e. %he solo ends .e #ove into a dru# solo . *n!e #ore as on ?'eta#orphosis@ this is the lon$est i#provisation on the pie!e the pianist ha##erin$ ho#e the lo$i! of !hordal sequen!es and o!!asionally leavin$ little pauses bet. 2eep it ti$ht and pun!hy A the band is on its toes not d. %he !o#position at the start of ?+nterplanetary %ravelers@ is in t. <i##ons@ oriental)soundin$ ti#bre bendin$ notes and strivin$ to #a2e the har#onies a#bi$uous prefi$ures his later 7n$lish 5orn .hirlin$ out a$ain the di44yin$ ton$uin$ and slurrin$ of repeated phrases threatenin$ to dissolve the bass)dru# !o#bination@s !ontinued patter into a #ore abstra!t pulse. Hone of the (oltrane Vuartet@s s.here underneath. By !ontrast Donald al#ost see#s to dra$ the notes out fro# her tru#pet in a 2ind of lu.here a full t.ay to <#ith on bass bendin$ notes i#partin$ the# .een on)the)beat)e#phasis to add a little tension as bass and dru#s 2eep up a !onstant for.ellin$ on . An apparent tape edit ta2e us into a unison the#e and <i##ons thro. te#po and ta2es in a pretty bass solo before the speeds suddenly shoot up and Donald plays bri$ht open lines over spar2lin$ bass and dru#s.ith rene. 5i!2s see#s to be . -4'2 .ith a s!aldin$ shrillness settlin$ on an al#ost liltin$ #elodi! phrases before .hi!h ener$eti!ally A and it turns out su!!in!tly A e#phasi4es a !ouple of rhyth#i! patterns before the horns@ the#ati! blast ushers in 5i!2s@ solo.indin$ do.ritten and i#provised #aterial.

Additional In&ormation: *ri$inally released E:8B.ithin a si#ilar piano ran$e ea!h .ay ea!h line is $iven near)ponderous equal . %he #i!rophone pi!2s up every nuan!e every i#perfe!tion in Waters' voi!e.+ (an't 0or$et DouDou 6oved 'e.atty Waters' t.)Dis2 it is the se!ond '(olle$e %our' that has the $reater !olouristi! ran$e and perhaps e#otional s!ope& nonetheless the very li#itation of this the first re!ord ) its frequent !on!entration on just one di#ension one #ood ) i#parts it .elease 4ate: 0ebruary C99: (ersonnel: .er'.Why +s 6ove <u!h A 0unny %hin$.ith a unique !laustrophobi! po.the hesitation before sin$in$ the ne.Why (an't + (o#e to DouDou %hrill 'e.)Dis2 .ei$ht piano and voi!e in a 2ind of sparse and #otionless alternatin$ dialo$ue.hi!h a!tually see#s to render the #usi! even #ore deli!ate rather than a#plifyin$ its volu#e and 'po.er.<ad A# + Glad A# +.eiss& bass.ri!e& dru#s Tracklist: 'oon Don't (o#e >p %oni$ht.and they do indeed all lie .%o# .o re!ords for 7<.atty Waters& piano (E)O" voi!e.Bla!2 +s %he (olor *f 'y %rue 6ove's 5air.t phrase the .on 'Bla!2 is the (olour of 'y %rue 6ove's 5air' (P" add Burton Greene& piano piano harp.(ATT3 WATE. *f .S H +)NG+ 5a0el: 7<.<teve %int. Waters rarely sin$s dire!tly over the !hords and #elodi! phrases that she plays instead usin$ the 2eyboard to a!!entuate and !ontrast the vo!al line& often her voi!e sounds out over the piano's last reverberations (#ost of her playin$ is sustain)pedaled" thou$h o!!asionally she uses a 2ind of solfW$e effe!t . <o#e #i$ht ar$ue that the son$s on the first side are the disposable ite#s before the real standout 'Bla!2 is the (olour'.

E4 SIDA.ith a 2ind of despairin$ obsessive al#ost #o!2in$ quality.hi!h to '!on!lude'. +t's i#possible not to thin2 of the ra!ial and politi!al !onnotations that .E 4o ! BridAe )nn3 &>?ord (Ma! 2919) • NAC.ord 'bla!2' over and over . And perhaps .hile Waters alternately lets out pier!in$ terrifyin$ s!rea#s and repeats the .n tra!2 the near)fifteen)#inute 'Bla!2 is the (olour of 'y %rue 6ove's 5air'.ithin and .pandin$ the ran$e and a!!eptable '#usi!ality' of the hu#an voi!e its po.E CIT3 FESTI:A5 Conwa! 'a 3 -ondon (Ma! 2919) • ATMOS(.hispers the #elody over Burton Greene's dissonant harp)li2e playin$ of the piano strin$s before <teve %int.E.ith .hisperin$ fra$#ents of #elody this ti#e .EE4OM OF T.illed by an inner i#perative an i#perative that still sounds loud and !lear nearly half a !entury on.O: 'MIN4 IS MO:IN'' The NBnner!3 -ondon (4eCrBar! 2911) • .ould $o on to have su!h influen!e on those fe#ale sin$ers interested in e.ould appear to be lar$ely i#provised& Waters al#ost .pand and e.ordlessly ) not resolution e.ould lose so#e of its po.er lies pre!isely in the fa!t that Waters' ta2e on ja44 son$ ) and on son$ in $eneral ) is so personal so idiosyn!rati! so un!o#fortably dire!t and see#in$ly unpolished so un!on!erned .plode into the unadorned star2ness of the re!ord's best)2no.ould have been evo2ed at the ti#e by that . Despite the fa!t that this albu# ) that final perfor#an!e in parti!ular ) .eiss' bass and %o# .ithout the# 'Bla!2' .ri!e's dru#s add sea)si!2 rhyth#i! arti!ulations as Greene #oves to the 2eyboard .N TC.ith its pla!in$ in #usi!al history. <tru!turally 'Bla!2' .E:IEWS SIDINT .hausted after#ath of an e#otional pur$in$ the last resort of a voi!e that's been throu$h the $auntlet ) !ryin$ s!rea#in$ pleadin$ shoutin$ out ) and !an find nothin$ but the #erest . <o#eti#es they feel li2e !ast)offs rather than fully)fled$ed son$s.ort Mahon3 &>?ord (%@ri 2919) • F.hole (for they see# to #er$e to #elt into one another insubstantial yet hauntin$" they !reate a fittin$ prelude as if the e#otions pa!2ed into the fra$ile #iniatures of the first side e.er. 0ittin$ly the last se!onds of the re!ord are left to her voi!e alone on!e #ore .a!tly but the e. hesitant te#po ea!h plu#bin$ the sa#e lyri!al and e#otional #ood of inse!urity and fra$ility.STRC+ &>?ord (7Bne 2919) • KO.ES< .hispers and s!rea#s it is the a!t of an artist rea!hin$ deep into herself both . '<in$s' is not ai#in$ to be a trailbla4er a '!lassi!' a standout& instead in . -4'2 'I' .ithout the !onfines of traditional for# as if .s2et!hes lastin$ barely #ore than a #inute.ord 'bla!2' despite ) and even be!ause of ) the fa!t that Waters' sin$in$ see#s so stron$ly personal.IO 4o ! BridAe )nn3 &>?ord (+e@temCer 2919) • MIC. Honetheless ta2en as a .AE5 (ISA.isp .ICAI T.unfoldin$ at the sa#e slo.

or2 in and around the sa#e #elodi! #aterial for len$thy periods #ore li2ely to #ove on to another se!tion if they felt that the #usi! had be$un to sta$nate in any one 2ind of soni! area for too lon$.here one !ould pin do.in$ se!ure underpinnin$s or plu!2in$ har#onies.or2s as a #a2er and restorer of violins and !ellos as .er Hor$ard.n any one player to any one role. <u!h diversity by no #eans led to a !lash of approa!hes& #otifs and te!hniques . <o#eti#es there .ould play in near)!on!ord shiftin$ e!hoes of one another's phrases ed$in$ round a tonal !entre soon snapped out of it by so#eone (often Wa!hs#ann" s!rapin$ or unleashin$ plu!2ed flurries.ere less li2ely to .ed by .o #usi!ians .ould be !ontrasts a!ross the ense#ble players dividin$ into short)lived separate $roupin$s pairin$s& (lar2e's $roanin$ ship's #ast over brief violin har#ony 7lliot and Wa!hs#ann tappin$ out quiet #otifs in the #idst of the lo. se!onds and then laun!hin$ in .WAN4E5WEISE.ere #o#ents .hen one #i$ht have said that <quint's i#provisations sounded a little li2e !o#posed pie!es by 6a!hen#ann or .ith %ony (onrad plu!2ed in strai$htahead ja44 !onte.Guastalla layin$ out for a fe.hi!h one .E 'o !we MBsic Room3 &>?ord (4eCrBar! 2911) DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD • SIDINT (ort Ma!on% O/&ord% Tuesda1 =?t! April =?@? >Phil 9achsmann% &ric (larke+ violins2 7ill &lliott+ viola2 Bruno Guastalla+ cello% 'andoneon2 Dominic .as playin$ in the $roup ) (lar2e as the #ost #elodi! player tendin$ to fo!us on lon$er bo.ts s!rabbled a.ith e. *ne #i$ht also note the fairly !onsiderable diversity in the ba!2$rounds of those playin$& Wa!hs#ann studied .ith the late <teve 1eid droned .n the 'role' so#eone .tural i#provisations.6ash providin$ the lo.ere !o#pletely i#provised ensured a #ore fra!tured approa!h than that allo.t.ere passed round in overlappin$ relays and leapin$ e. At ti#es one #i$ht thin2 that one had pinned do.ith Hadia Boulan$er and e#er$ed initially fro# an indeter#inateG (a$eianG art #usi! !onte.Wa!hs#ann as the one 2eepin$ thin$s on ed$e abrasive physi!ally en$a$ed.(lar2e is a professor at the >niversity of *.ford)based free i#provisin$ $roups.6ash has played .ith the .ith '#odern !lassi!al'.tended te!hniques (.ritten #aterial.7lliott plu!2in$ round the spa!es left by other players.er instru#ents' .as #ost definitely not a #usi! .ay in free ja44 settin$s and parti!ipated in quiet te.ould not asso!iate . Q F5DNDS: CONCE(T AS SCO.ith the #ore ja44)asso!iated aspe!ts of free i#provisation as #u!h as .hole body of the instru#ent as sound)#a2in$ devi!e" by an all)strin$s ense#ble . %his . <o#eti#es t.Guastalla .the players .as his use of a pie!e of .ed notes and len$thier phrases.ood a$ainst the strin$s to !reate a fantasti! loud $roanin$ that sounded as if it !ould al#ost have been ele!troni!ally #anipulated".ford .ith fero!ious ener$y onto a parti!ular idea or type of sound (notable in this re$ard .!han$es.tensive a!ade#i! resear!h on #usi! under his belt7lliott has been involved in !lassi!al fol2 and !onte#porary #usi! in *.er end of the #usi! in a supportive role bo.ford for C9 years. %hat said the fa!t that thin$s .ash+ dou'leJ'ass@ %here . But this .as pri#arily due to the parti!ular instru#entation to the use of e.ell as playin$ in a nu#ber of *.

in$ $roups you so#eti#es find in free ja44 !onte.ts" and there .ould have yielded for applause #eans you have to build thin$s ba!2 up a$ain in the pro!ess losin$ the at#osphere and fo!us of the previous #inutes.EE4OM OF T. +t #ust be noted ho.all% 5ondon% Sunda1 =nd Q Monda1 Jrd Ma1 =?@? .asn't one of the ad)ho! blo.hen thin$s felt a little tentative& the division into separate pie!es (of rou$hly ten #inutes in len$th" diffused the intense !on!entration that a sin$le lon$er pie!e .ould di$ .n on the re)starts and further#ore any sa!rifi!es in ter#s of total !ohesion .isp of sound fro# bo. private sessions beforehand ) it .as the $roup's first $i$ (thou$h there had been a fe. %he result .as sho.ood or strin$.ere perhaps ti#es .ith slo.ould drop out to leave near silen!e the thread of the #usi! han$in$ on a . %his .ed drones or so#e .ever that little hesitation .as intensely absorbin$ and it is to be hoped that this $roup #i$ht further develop the #any interestin$ dire!tions they !reated for the#selves durin$ this debut publi! perfor#an!e.hole ense#ble .thunder. At other ti#es the . bo. F.ere #ore than #ade up for by the variety of sounds levels of volu#e types of intera!tion and #usi!al allian!es a!ross the $roup. on .E CIT3 FESTI:A5 =?@? Con#a1 .

hole .ith those spe!ifi!ally based in 7n$land A he played in Bristol ba!2 in the O9s and has re!ently tea#ed up .een a!ts so#ethin$ li2e this deserves at least a #ention in %i#e *ut".ith a relatively #odest nu#ber of artists perfor#in$.erhaps there@s no .ay round the sense of dXjR)vu the al#ost by)rote effe!t of so #any perfor#ers !o#in$ up on sta$e in su!!ession.n in a noisy quintet featurin$ (o.hi!h + feel !ould be (needs to be" sha2en up in so#e . .ell over ten hours in total" attention !an .)by)blo. +@ve opted on the .ay 5all A a far roo#ier spa!e A and attra!tin$ a nu#ber of i#provisers fro# abroad to join the #ainly British)based line)up. But this .rXvost and %revor Brent had a!hieved even #ore of a !oup this year persuadin$ tru#peter 6eo <#ith to headline both days of the festival.hole for a blo.festival fati$ue is the inevitable dra.'y previous visits to the annual 0reedo# of the (ity festival have been li#ited to just the one ba!2 in C99O.e approa!h the deadened sterility of the !lassi!al !on!ert hall a$ainst .orth.as unifor#& one $roup set up and play people !lap there@s an announ!e#ent and a short brea2 then another $roup set up and play people !lap et!. Ba!2 then it .as a s#aller affair held in the ba!2 roo# of the 1ed 1ose pub . (onsequently +@# not $oin$ to revie. Durin$ su!h a pa!2ed s!hedule (.ith the s#all ?stable@ of #usi!ians asso!iated .ee2end o!!urred durin$ his perfor#an!es on the first day playin$ an ele!trifyin$ i#provised !on!erto .as in so#ethin$ approa!hin$ this latter !onfi$uration that he !losed the festival holdin$ his o.ith the 6ondon +#provisers *r!hestra then en$a$in$ .ith the #usi! as su!h !an intrude on !riti!al fa!ilities.as by no #eans all that the festival had to offer.hi!h the vitality of both ja44 and free i#provisation !an set the#selves in their finest #o#ents.ay 5all is a fairly lar$e spa!e and .hile offerin$ so#e preli#inary notes on the venue. +n any !ase 0*%( re#ains pretty #u!h a unique event in the British i#prov s!ene F needs all the support it !an $et $iven . %he (on.on on $uitar and the pri!eless . 4A3 ONE Before $ettin$ onto the #usi! it #i$ht be .ith 7uropean i#provisers or indeed .ise . +t . + #i$ht perhaps #a2e the !riti!is# that the presentation .ander and dissatisfa!tions .2.on and Ashley Wales (a.as not of !ourse the first ti#e that <#ith had joined . And of !ourse +@d rather hear ei$ht $roups in a respe!tful at#osphere and a !ondu!ive settin$ than t.holly satisfyin$ for one reason or another.ar2er 7ddie .ell)do!u#ented diffi!ulties in se!urin$ fundin$ and !ultural a!!eptan!e in the >= (surely as 7van . After a year@s absen!e due to the ter#ination of the 1ed 1ose as an i#prov venue it !a#e ba!2 all the stron$er in C99: relo!atin$ to the #ore !entrally)pla!ed (on. *r$ani4ers 7van .ay A other.o $roups in a din$y pub.as perhaps as fine as i#provised #usi! $ets.ba!2 of brin$in$ so #any #usi!ians into the sa#e spa!e on the sa#e o!!asion. %his #ay be due to #y on$oin$ dissatisfa!tions .n detailed analysis of perfor#an!es . a!!ount of the various different set)ups thou$h it .ould probably be unfair to set do.ith %reader the i#prov label run by /ohn (o.ith the !on!ert presentation of free i#provisation .ar2er opined in one of his #i!rophone ?rants@ bet.but perhaps the finest #o#ents of the .a.at %ho#as on piano and ele!troni!s. every a!t. %his .hi!h #ay have very little or nothin$ to do .ith the double)dru# duo of <teve Hoble and 6ouis 'oholo)'oholo in an e!stati!ally) re!eived set that at its best . dan!e #usi! duo <prin$ 5eel /a!2".hi!h + did not find .

ere pleasantly surprised by .or2ed .!eptional free i#proviser.hile !orridors outside the #ain sta$e spa!e $ave plenty of spa!e for #in$lin$ in bet.hi!h 7vans be$an" but they .tural investi$ations .hibitin$ a 2ind of early t.tendin$ the possibilities of the instru#ent . Honetheless it see#ed that not everyone in attendan!e .la!e 7thi!al <o!iety the oldest free)thou$ht asso!iation in the .as !apa!ity for the audien!e to #ove around rather than havin$ to sti!2 to the sa#e seat for hours at a ti#e .it never d.ith that label@s stal.ith the use of subtle ele!troni!s as /ohn But!her has done . Peter &vans+ Photo 'y (.it!hed to !ornet .eter 7vans and in parti!ular 6eo <#ith .as built as headquarters for the <outh .or2 and they .hat transpired.ith noise)ro!2 $uitar eruptions".art 7van .hose sound is so #assive that it #i$ht be!o#e deafenin$ else.orld".hereU >pper $alleries and plenty of spa!e for seats #eant that there .ere !ertainly i#pressive in a te!hni!al sense.ar2er. %hou$h based in He.eter 7vans .ere perhaps rather over)done (there !ould have been #ore of the te.ith .ho is a very fine ja44 left)field ja44 #usi!ian (?%he . Dor2 he has released a solo re!ord on 'artin Davidson@s 7#ane# and .ith his .n to less than B9.ith repeated al#ost brash #ini#alist phrases (li2e tou$her versions of /ohn Ada#s@ fanfares".entieth)!entury liberal ethos (one of the roo#s in the buildin$ is na#ed after Bertrand 1ussell and on further resear!h it turns out that the 5all . %he perfor#an!e split into rou$hly t.ith a solo set fro# . %he dX!or is a little quaint (#y eyes 2ept fli!2in$ to the #otto ins!ribed over the sta$e& “to thine o. All a far !ry fro# the 1ed 1oseQ %he <unday afternoon session (lastin$ fro# Cp# until around 8" opened . %he se!ond half in . %he a!ousti! isn@t that resonant but this probably suited players li2e .o halves thou$h it . "eil Scott .eter 7vans Vuartet@ fro# C99O !ontains a happy blend of old)fashioned #elodies and !hord sequen!es .o days.ith the sa.as #ostly a!ousti! .indled do.ophone.as fa#iliar .attendan!e #ust have rea!hed E99 or so on the <unday the better)attended of the t.he is also as this perfor#an!e indi!ated an e.een a!ts.n self be true”" e.ith #ore ?notes@ in play& ja44y infle!tions !o#bined .as a !ontinuous forty)#inute set& the first half found the tru#peter !on!entratin$ on !ir!ular breathin$ a#plifyin$ breath noises throu$h a volu#e pedal e. %he latter .hi!h 7vans s.

n bi$ band as the 6ondon +#provisers *r!hestra too2 to the sta$e and beyond spra.n onto the fin$erboard.ar2er but she see#ed !ro.ith a !larion for!e but this .hat li#ited player espe!ially havin$ seen 5annah 'arshall@s superb duo .ithout pressin$ do. %he #usi! had a 2ind of ja44 aura to it but never throu$h overt referentiality and (hen@s sound !ould be said to o. a short !on!erto for the festival@s ?star perfor#er@ Wadada 6eo <#ith Dave %u!2er steppin$ out of the or!hestra ran2s .ith one hand .ith 'i!2 Be!2 at the (heltenha# /a44 0estival the pre!edin$ 0riday.e as #u!h to !onte#porary !lassi!al as to ja44.ay har2ened ba!2 to /i##y Giuffre@s $roups of the early 89s. By !ontrast 6ol (o.o hours #i$ht have see#ed li2e over2ill $iven the usual !haoti! nature of su!h lar$e $roupin$s and the tenden!y to resort to !ondu!tion !li!hXs in order to ta#e the unruly beast. %.hether by desi$n or a!!ident in a 2ind of as!endin$ approa!h& fro# solo to duo to trio and then to a full)blo.er rea!hes of the Bosendorfer.ere soon dispelled.it!hin$ round Dale2 dru#s and an en!ore .ded out by 6ytton unable to fully respond to his ener$eti! t.hill as ever .lin$ out onto the floor belo. <he left plenty of $aps so that her phrases a!quired a !ertain . .ith 6ytton didn@t really !o#e off.asn@t heavy or slu$$ish A rather it had a substantial deli!a!y to it that in a .ith a $or$eous #uted passa$e over so#bre full ense#ble !hords.hill %ania (hen and Do#ini! 6ash de#onstrated a !lear #utual understandin$ fro# the $it)$o.)set ?(o##uni!ations@.or2ed as $enerali4ed at#osphere in the later trio . 6ee@s approa!h .on this eviden!e she stru!2 #e as a so#e.een phrases endin$ . .ith hu$e vi$our even . (o.o)piano interplay of <teve Beresford and Meryan Weston pla!ed on either side of the sta$e and the rau!ous tro#bones of Alan %o#linson and 1obin /arvis.ei$ht around the# but the #usi! . Any doubts as to .ould one be able hear the or!hestra over his tru#petU 5is sound boun!ed off the spa!e .tended periods rather than !uttin$ the# short before they@d had a !han!e to develop so#ethin$..inds horns A in passa$es re#inis!ent of the /a44 (o#posers@ *r!hestra@s fantasti! C6.ith an abundan!e of !onsidered spa!e bet.ith <#ith later on that day.as on the other side of the roo#" !ould be heard thu#pin$ .ever the duo .in$ lines or thinnin$ out his sound to al#ost nothin$ in breathy te. +t all built up to the bi$ !li#a.as #ore .hen he hadn@t been !ued in as if anti!ipatin$ his s#all)$roup set . Great too to hear hi# sin$ and soar out over or!hestral se!tions A strin$s .the question .hether <#ith .irls of sound fro# his $uitar to !ondu!t. %he !ello !an do #ore than this& use of the instru#ent@s body plu!2in$ and even #elodi! phrases.hile slidin$ the other up and do.here he@d been $rindin$ out fier!e s.hi!h #i$ht have provided the !han!e to find another an$le on thin$s never really too2 off either.(ellist *22yun$ 6ee li2e 7vans had travelled over fro# He. (hoi!e !o#binations in!luded the t.ould be audible over the or!hestra . Dor2 to play here. %he afternoon see#ed to have been !onstru!ted .asn@t a tasteless 'aynard 0er$uson display for he played .n the strin$s .ith /avier (ar#ona (third dru##er %ony 'arsh . 6ouis 'oholo)'oholo in a !orner .ith 7vans and 7van . +n fa!t thou$h the perfor#an!e re#ained at a hi$h standard throu$hout the various !ondu!tors pi!2in$ out parti!ular players and $roups of instru#ents and lettin$ the# do their thin$ for e. 6ee tended to bo.as tartly #elodi! spinnin$ out flo. + don@t doubt her te!hni!al s2ill and it@s !learly unfair to definitively label any #usi!ian on the result of one perfor#an!eho.tural !o#ple#ent to 6ash@s #ulti)hued bass and (hen@s ru#blin$ on the lo.

+t #ay have ta2en a .ophonist <tefan =eune !on!entratin$ on held altissi#o notes and <ato2o 0u2ada s!rat!hin$ a.tural #usi! (hris Burn !ontrollin$ his inside)piano rustlin$s .as early evenin$ and there .hile for thin$s to settle A this .as potential here for a #ore overtly rhyth#i! approa!h than that .ith Meryan Weston and <teve Beresford" thou$h 5enry 6o.'oholo is !ontent to sti!2 to one aspe!t of his 2it or to !li!2 !laves and .e@d been hearin$ so far. it .hile 'oholo al.ere able to !reate so#ethin$ very spe!ial indeed.as after all a first)ti#e #usi!al #eetin$ for the three #en A but by the ti#e they@d all lo!2ed)in to ea!h) other@s playin$ they . Hoble is of !ourse adaptable to pretty #u!h any style his undoubted i#prov pedi$ree #i.ith the ability to play hi$hly attra!tive rhyth#i! #usi! that #ay or #ay not referen!e parti!ular $enres .!lusively #elodi! !ourse throu$h thin$s.hisper out loud to <#ith “no baby no. . %here .ith a volu#e pedal sa.as it see#ed hardly ti#e to !at!h breath before pro!eedin$s resu#ed a$ain.ay on violin (in !ontrast to her #ore !lassi!ally)infle!ted . %he follo. And it@s a #elodi!is# that@s totally free of !li!hXs ja44 or other.ith that soundQ%he first pie!e finishes on a note of perfe!t satisfa!tion there has to be #ore& <#ith announ!es #usi! “to #a2e the stars $o to sleep ” then unfurls the #ost beautiful #uted #elodies.ith bursts of on)the)beat playin$. *ne of /ohn 1ussell@s VuaVua $roups A on this o!!asion a septet A played #ostly te.ise A a rare $ift. Hoble li2es $on$s and !rashes and !olour .ith t.By no. .t.or2 .in$ trio .ays brin$s an e.uberan!e and enthusias# to his playin$ in .ther plotted a #ore e.as an enti!in$ prospe!t& 6eo <#ith in an unusual pairin$ .hatever !onte.o dru##ers 6ouis 'oholo and <teve Hoble.ed .” <#ith puts his hand in his #outh and #a2es !li!2in$ !lu!2in$ noises else !rou!hes li2e the ele!tri! 'iles silhouetted bla!2 a$ainst the red ba!2)li$ht surely deafenin$ the front ro.

as i#pressive A but it never felt ed$e)of)the)seat enou$h for #y li2in$.n but thin$s .ere noti!eably less audien!e #e#bers than on <unday (thou$h one #i$ht bear in #ind that the #assed ran2s of the 6ondon +#provisers *r!hestra probably bu#ped up the nu#bers si$nifi!antly .erhaps that .as up first paired . Anyti#e he plays so#ethin$ absorbin$ is bound to happen su!h is his !ontrol of his instru#ent and sense of the #inute detail of the unfoldin$ sounds!ape and this perfor#an!e did not disappoint. Bailey)li2e har#oni!s but #ost !ru!ially leavin$ very little space in the #usi!. .peri#ents are valid.hi!h had been established fro# the outset.ar2er played never really able to propel hi#self into the bold ti#bral investi$ations that had #ade his solo set so fas!inatin$ . .ith re$ards to the ja44 tradition that didn@t translate into !o#pellin$ #usi!.as rather !onstri!ted by the 2ind of phrases . +t has said that in s!ien!e only the e.in$ in a fe.n .on the other hand it .peri#ent that proves the hypothesis is ?valid@ .hereas in #usi! all e.as respe!table.as as e.as the proble# here& a 2ind of thou$ht e.tre#e upper re$ister of his instru#ent A free ja44 .as under#i2ed and as in her duo .rXvost on freebop dru#s 1oss 6a#bert on bull)headed $uitar and <ey#our Wri$ht a!tually produ!in$ re!o$nisable notes fro# his sa.hat follo.pe!ted. %he #usi!ians .ith .hen thin$s !learly just do not work and the perfor#an!e by <>' .ith 6ytton rather pushed into the ba!2$round of the #usi!. But!her . .as bound to see# so#ethin$ of a let)do.ith 'ar2 <anders.ed i#prov loo2 at ja44 (they des!ribe the $roup as a ?total ja44 trio@" but this ti#e at least their playin$ ended up la!2in$ the best qualities of both ja44 and i#prov.erhaps a !ir!ular)breathin$ duo .hile 6a#bert see#ed unable to !o##it to any parti!ular approa!h so#eti#es thro.nonetheless the turnout . Given the history of sa.ith no sense of #o#entu# ener$y or intensity A . %here are thou$h o!!asions .After su!h a superb set .hat they are doin$.ophoneGdru# duos it . %he final trio of *22yun$ 6ee .ay ba!2 to the (on.ed .ophone atte#pted a sort of s2e.e!ution or the layin$ do.tural possibilities. %here .erhaps +@# jud$in$ thin$s by the .hile 6ee . .ar2er on soprano and 7vans on tru#pet #i$ht have offered .eter 7vans and 7van .as refreshin$ that the #usi! here never felt li2e free ja44 a!hievin$ its $rippin$ pull on the listener throu$h !larity of ideas rather than speed of e.in$ in ja44 !hords so#eti#es thro.ron$ !riteria and as a te!hni!al e.ay 5all for the se!ond day havin$ #ar2ed out as potential hi$hli$hts sets by /ohn But!her f>1% .ould have ris2ed bein$ even #ore predi!table than the trio that did play.nhill qui!2er than e.eren@t playin$".ent do.hen they .or2 and the undoubted philosophi!al effort that all three players put into .as one of these.ider te. 4A3 TWO + #ade #y .pe!ted& one felt that 7vans . Wri$ht stubbornly stu!2 to a very s#all sele!tion of notes obsessively hon2in$ the si#plest of #otifs or shrie2in$ in the e.ith Ada# Boh#an and >te Wasser#ann and the return of Wadada 6eo <#ith.hole !a#e a!ross as u$ly stati! sta$nant A a real disappoint#ent $iven Wri$ht@s superb and very different solo .ere listenin$ to ea!h other but not pushin$ ea!h other not leavin$ the safe #iddle)$round .rXvost !a#e off best #anfully ne$otiatin$ round the ed$es of bebop rhyth#s but the #usi! as a .er!ise the set .ar2er . 7ddie .peri#ent .

n #a2in$ rather than for!in$ #ore #obile ele#ents into a restri!tive pre)e.hi!h played .t . ja44)is#s but .ith But!her@s s#earin$ hoverin$ overlappin$ frequen!ies and te.ophone .in$ a $on$ to produ!e rin$in$ sonorously eerie tones- .ere ne.as the only #usi!ian on sta$e that +@d seen or heard of previously A but they appeared to share a do$$ed deter#ination to avoid the ti#bral !li!hXs asso!iated .ho@d initially asse#bled at 7ddie . <anders used bells bo.er notes@ burnished undertones. %heir dialo$ue . After a ten)#inute tenor se!tion !ontainin$ a sustained !res!endoin$ trill . But!her opened on tenor #ultiphoni!s i#buin$ the sa.as respe!tful but not ?polite@ & ?solos@ individual state#ents .ay fro# their har#oni! i#pli!ations .as redu!ed to the #erely i#itative or illustrative #odes of 1o#anti! !lassi!al #usi! for i#provisation@s !on!entration is on sound as sound and on hu#an intera!tion .ere not loo2)at)#e virtuoso displays arisin$ fro# a false stru!tural obli$ation but appropriate opportunities for parti!ular sonorities to be e.hile leavin$ tonal possibilities . Whereas .ere peppered .e ta2e that phrase up on its poeti! i#pli!ations rather than as #usi!al ter#inolo$y& obliquely e!hoin$ returnin$ departin$ unfoldin$ .as in ?out ja44@ #ode the previous day here he .ith har#oni!s.eather outside !a#e peepin$ throu$h the partially) !overed $lass roof the sun@s appearan!es and disappearan!es behind !louds see#in$ at ti#es to #irror But!hers@ and <anders@ alternations entran!es and e.rXvost@s .ith the for!e of .or2in$ in tande# .and #ost stri2in$ly .ith instru#ents and . %he !han$eable .eter 7vans the day before But!her s.ation very far fro# the !lose)listenin$ fo!ussed intensity displayed by both #usi!ians.hat .ls #allets displayin$ an often non)linear sense of rhyth# that $iven the !onte.ithin rea!h.ay environ#ental !onditions outside the buildin$ had influen!ed the perfor#an!e (or #aybe thin2in$ #ysti!ally the i#provisations influen!ed the . A $roup .istent #ould.hi!h . %he perfor#an!e then unfolded at a pa!e .n parti!ipants A .or2shop .as not quite a full #elody but a definite #otif nonetheless !arefully stru!turin$ thin$s by t.rXvost .plored ne.tures. At first he played .eatherU".in$ sound the upper rea!hes te#pered by the lo. *ne of the best perfor#an!es of the festival.its A as if in so#e subli#inal or #ore overtly !ons!ious .hi!h one !ould al#ost des!ribe as unhurried. dire!tions to e#er$e.ith another fi$ure before pro!eedin$& a 2ind of openin$ invo!ation a preli#inary state#ent a preparation.ithin a stru!ture that see#ed al#ost to !reate itself parti!ipatin$ in its o.as entirely appropriate . %hese .ith other hu#ans playin$ the# (rather than the translation into #usi! of a lone !o#posers@ inner feelin$s on seein$ a lands!ape".ith an al#ost $lo.it!hed to soprano an instru#ent on .but that turn of phrase su$$ests a 2ind of la4y rela.supple strin$s of notes .of virtuosi! #ountains of notes.ind full of shrill ur$en!y and near)physi!al presen!e.t to ta2e the sta$e. %hat doesn@t #ean that the perfor#an!e .i!e alternatin$ this #otif .ere not in fa!t so#e of its better)2no. Det But!her and <anders did !reate a 2ind of tone poe# if .hi!h he adopted a nu#ber of soni! approa!hes& ton$ued fin$er)slapped al#ost per!ussive sounds that turned the notes a.ith spa!e in a si#ilar #anner to .hi!h #i$ht even have had so#e !onne!tion to !onventional soprano sa.as fun!tionin$ as per!ussionist rather than dru##er. +ndeed he !ould barely be !alled a per!ussionist as su!h spendin$ al#ost the entire set bo.histle)frequen!y sounds that !alled out .rXvost .ith their respe!tive instru#ents.

or2shop" spa!e .hat resulted see#ed to be that they all used the sa#e ba$ of tri!2s sedu!ed by the $ro.ophonist Dave *@(onnor .er is al.as an al#ost !ontinuous su!!ession of sounds .pressive use of the voi!e retainin$ its ?otherness@ fro# #an)#ade instru#ents but .as very little linear #ove#ent throu$h and to.ren!hin$ly physi!al.pressions have be!o#e de ri$ueur for su!h #usi!)#a2in$ it see#s and there is at ti#es a sli$ht feelin$ of stasis the la!2 of a !ertain #o#entu#.!ept .!han$e& /ennifer Allu# see#ed to play her violin #ore as tapped s!rat!hed per!ussion than as a strin$ed instru#ent .ith a versatility #ore $enerally asso!iated .here there@s less pressure for so#ethin$ to ?happen@.ards narrative or si$nposted ?event@ even if there .in$ set .ays billed as ?pianod@" in a #anner do!u#ented by a re!ent series on the Another %i#bre re!ord label.a#ination of the possibilities of his instru#ent (thou$h baritone sa.ere the loudest ele#ent in the #i. And the ai# of su!h art is not to !reate a ?.ith instru#ents than .as surely influen!ed by But!her at least in part.hen he unfastened it turned it upside do. +n the event 1i!hard Barrett .as avoided (in the sort of !all and response #i#i!2in$)of)ea!h)other@s lines approa!h that !o#es #ore out of ja44" the #usi! .hi!h he held it poised in the air i#parted a rather desultory #o#ent of ?dra#a@.his snare the sole survivor of his dru# 2it re#ained unused e.lin$ very lo.ell .tend the para#eters of the instru#ent@ (<ebastian 6e.in fa!t his playin$ .hil 'ar2s. but sudden bursts of noise indi!ative of the approa!h he !ould have ta2en .ren!hin$ sped)up ele!troni!s Boh#an@s #averi!2 table)top asse#bla$e of !run!hy jun2 and resonant bo.hi!h .or2shop has be!o#e su!h an essential part. %hou$h overt ?intera!tion@ . *n this se!ond day #u!h of the afternoon session (and indeed the evenin$ as . they have a 2ind of ele!troni! !lan$in$ sound to the# .as even #ore stripped do. %he follo.as !learly in play even in But!her@s radi!al re)e. Grundi2 =asyans2y@s ele!troni!s .ould have provided A the sounds are #ore !onventional less abrasive A thou$h 'ar2s did have an infe!tious 2id)on)a)!andy)rush ener$y . +roni!ally the dru#)set didn@t have quite the sa#e per!ussiveness the e.ith >te Wasser#ann and Ada# Boh#an A an enti!in$ prospe!t $iven f>1%@s . +nstead there .the players@ stillness and ti$ht)lipped e.ell" .as do#inated by inside)piano players& .as billed as f>1% .er of the lun$s".as still about e.hi!h fitted .orlds and s!a#perin$ flitterin$ #ani! intensity.ith the #usi!@s ja$$ed sound).rXvost@s .hi!h is irrelevant here but + do feel that the #usi! !an be!o#e poised rather uneasily bet.ed #etal surfa!e he@d pla!ed atop it.ploration of sound for .hile .erhaps su!h #usi! is not best suited to the !on!ert environ#ent #ore to a s#all private (.ed $lass and Wasser#ann@s ?birdtal2in$@ (neither quite li2e spee!h nor quite li2e traditional ?sin$in$@ the latter is a truly e.hi!h #ust surely .aul *be#ayer@s band)#ate fro# Bar2U the dru##er . By this + don@t #ean #o#entu# in the overt free ja44 sense . A pebble dropped off the ed$e of the sta$e after an a$e durin$ .est notes of the Bosendorfer (so lo.e had three or four pianists all ?.or2in$ to e.ere held ba!2 for the #ost part e#er$in$ as sporadi! spas#s and #uffled radio strin$ #usi!.rXvost played his ?per!ussion@ li2e a dronin$ strin$.ith little a!tual silen!e.ash of its sy#patheti! vibrations to feather another bo.n to the essentials of breath and ton$ue and flesh on #etal in and throu$h air".n and used the faint .asn@t able to #a2e the $i$ and .tra ele!troni!s .or2@ but to be part of a !ontinuin$ dialo$ue the !ontinuin$ e.een quietude and so#ethin$ #ore . %he $roup@s perfor#an!e refused the sort of stru!ture that . Det .as repla!ed by .ith the pure po. .

at %ho#as as #ore !onne!ted to a tonal A#eri!an ja44 tradition.5u$ the $roup@s founder see#ed to favour sustained playin$ of all the viola@s strin$s at on!e usin$ a spe!ially) developed bo. +t .er probably had the best of it his bell)li2e tones and o!!asional va$uely 0eld#anesque !hords #odulated .ith <#ith and .as!al Battus both fun!tioned as per!ussionist (ban$in$ his hands on a #i!@d)up table to !reate a propulsive !res!endo and a#plifyin$ his o.!els" for sy#patheti! bo.ith !onte#porary !lassi!al #usi! .hi!h thou$h al.hile !a#e out . lines bet.ed in it or #eandered throu$h a $eneralised ?blueness@.allo.ards the other #e#bers of the $roup as if atte#ptin$ to for!e A indeed insisting on A a !olle!tive !han$e of dire!tion.in$ .ards" .een the #usi!ians in this .n ne!2 pulse via !onta!t #i! for e.ho + also heard at a re!ent $i$.hi!h he e.on as ?post)#odern@ i#provisers liable to referen!e any nu#ber of $enres in their playin$ .hole #ore predi!table if superfi!ially quite attra!tive".pe!ted role of noise)#a2erGs!rabblin$ te.hi!h !an be!o#e rather .s held over piano strin$s (.hi!h he .ith /a#ie (ole#an@s in.ard fro# his body furiously bo.ith $reater and $reater fero!ity as he leaned to.turalist.have been attra!tive to players interested in the interplay bet. (+@# not sure that des!ription doesn@t fall vi!ti# to so#e 2ind of un!ons!ious ra!ial)#usi!al stereotypin$ dividin$ up the youn$er .both set)ups obviously have a stron$ te. + do have so#e reservations about the (over"use of !onta!t #i!s by ele!troni! pra!titioners A it $ives an ed$e to its a#plified sounds .hose approa!h + found #u!h #ore nuan!ed and varied than that of *22yun$ 6ee".as involved #i.hile ele!troni!s #an .ith the <tellaris perhaps less in!lined to lin$er over #elodi! se!tions #ore in!lined to spar2 si#ultaneous firin$)on)all)!ylinders fro# ea!h #usi!ian.ith half)#elodi! su$$estions re#inis!ent of EC)tone !ontours that did not pre!lude insistent s!rapes and $lissandi.t.hi!h tend to !reate a rather deadenin$ a#bient !loud that sets the dire!tion for several #inutes at least renderin$ intera!tion and !han$e less easy to fa!ilitate and the te.tural si#ilarity .een a!ousti! and ele!tri! sounds" and by the har#onious hi$h)pit!hed hu# of e)bo.ford) based quintet <quint .ards forsoo2 his #ore usual snappin$ roarin$ hard#an free ja44 role (at .ays on the ver$e of #elan!holy never .at one point he #oved the violin a.a#ple" and filled the #ore e. 6e.ed players fro# several different $enerations and traditions and it .tural #eshes and overall !ohesion did not pre!lude individuals suddenly laun!hin$ off into ne. dire!tions even bullish ones su!h as this and the Vuartet held one@s interest throu$hout their perfor#an!e.ard tru#pet .ill inevitably . %e.ay .ture as a . %he quintet in . +n any !ase atte#pts to dra. %he <tellari <trin$ Vuartet (. Was!h#ann #ean.pe!ted. +nterestin$ to note this $roup alon$side another all)strin$ ense#ble featurin$ Was!h#ann the *. 7d.hilipp Was!h#annG (harlotte 5u$G 'ar!io 'attiosG /ohn 7d.as 6eo <#ith@s return that rounded out the evenin$ and on!e #ore he pro!eeded to play so#e of the best #usi! of the ni$ht.ith a faint tou!h of lin$erin$ ele!troni! e!ho slottin$ quite ni!ely .hat strate$ies they #i$ht try and find to ne$otiate these& the pro$ra##e notes in their atte#pt to predi!t .asn@t at all !lear beforehand . 'ean.in$ alon$side 'attos (.ere very fine as e.ould have see#ed more un!onventional in su!h a !onte.hite players fro# the older bla!2 ones. Ward and /ohn (o.earin$ A but Battus #ostly steered !lear of !li!hX.hat #i$ht happen tried to pla!e Ale. that !urves over and round the instru#ent@s body. %o play notes or even phrases on the 2eyboard itself .ay fro# his ne!2 and held it sli$htly for.

ere fil#in$ and ta2in$ photo$raphs of the event.on@s noisy $uitar than .!o#GuserGshuffleboil 5elen .youtube... (o. %he foota$e that@s #ade its .ay throu$h .hat #ay be the shortest pie!e ever heard at a free i#prov !on!ert& “EGC a se!ond” in his . *ne brief stab fro# the full ense#ble then A B**' A 0reedo# of the (ity .on@s $uitar . • • • ?shuffleboil@ A http&GG..E.robably the easiest .as ri$ht there .ith <#ith@s tru#pet to for# a 2ind of !ra4y He. of the se!ond pie!e Ward had joined up .ture than as any 2ind of frontline (Ward@s playin$ also had a tou!h of 2le4#er to it .. .hile it . And .ith the# all.in$ quality to it quite different fro# the stop)start interje!tions of #u!h free i#prov.ture in a .ords.ere qui!2ly joined by %ho#as@ piano& a fine use of neo)idio#ati! te.ays& turned on its ba!2 and tapped as an i#pro#ptu dru# s!rat!hed and s!raped noise)ro!2 style ..etts A http&GG. *rleans !o#bo thou$h #ore as part of the overall te.ith (o.a#ple at least ten different videos of the 6eo <#ith sets are available.ere !onsequently loud and rau!ous as every one went for it at on!e for!in$ ea!h)other to a potentially dan$erous level of noise fro# the off and barely lettin$ up.as also re!orded for the BB( (presu#ably to be broad!ast on the sho.ES< ." Hone of these players (the fifth #e#ber of the $roup .as .n as anythin$ other than !onfident individualisti! #usi!ians and the results .or2 one@s .unburdened by the presen!e of a dru##er . Brin$ on C9EEU Note on 3outu0e Foota e o& Freedom o& t!e Cit1 per&ormances <everal individuals ." and to .ay to $o about thin$s is to !li!2 on the user a!!ounts of those .be ina!!urate ra!e or not& for e.alls of /eri!ho".e #ay hope that so#e of the perfor#an!es #i$ht also #a2e their .ay onto (D releases by 7#ane# 'at!hless or %reader.!o#GuserGhelentoni! ?d4$ast@ A http&GG.hat@s available. .ho@ve uploaded the videos (for .ith ja44 and his piano playin$ has a $ood deal of ?!onte#porary !lassi!al@ to it.it . And 6ytton of !ourse ..youtube.ay that felt $enuine arisin$ fro# the #usi! and the #o#ent rather than fro# any 2ind of superfi!ial ?post)#odernity@.E Foll1 "rid e Inn% O/&ord% Tuesda1 @@t! Ma1 =?@? 'At#ospheres' a four)pie!e #ade so#e !o#pellin$ #usi! durin$ their !ontinuous one)hour set.aul 6ytton" are 2no.as used in all #anner of different .orth.as too.as over for C9E9.youtube. /a44 on K probably in e.rapped in !arefully)!ontrolled feedba!2 treated to rin$in$ har#oni! !hords fro# the Bailey s!hool and une.. With several different people uploadin$ the videos they@ve ta2en there@s inevitably $oin$ to be so#e overlap& for e.a#ple %ho#as@ ele!troni!s are #ore in line . %revor %aylor's !redit as per!ussionist didn't !apture the har#oni! spe!tru# of his !ontribution& usin$ dru#sti!2s on the pads of a 'allet=at a “'+D+ per!ussion #allet !ontroller” .!o#GuserGd4$ast ATMOS(.ay onto youtube $enerally has fairly de!ent sound quality thou$h the pi!ture quality does leave so#ethin$ to be desired.hat they played had a looseness and flo...pe!tedly soundin$ out stron$ly #elodi! propositions that .E4 SIDA.hi!h see lin2s belo. *n bein$ infor#ed that everyone had to be out of the buildin$ by EE <#ith fulfilled the audien!e@s requests for an en!ore by playin$ .hile <#ith see#ed intent on brin$in$ do.@s #ore left)field ja44 sho.!erpt for#" and .arti!ularly by the rousin$ !li#a.n the .hi!h sounds li2e a .

een phrases and entries rather than 'soloin$' !ontinuously even if the sound quality of his instru#ent tended to !arry over the rest of the $roup in the #anner of a 'lead voi!e'.as playin$ even before #etal had be!o#e .ays that rendered the# #ore than !li!hXs playin$ the# ar!o or sli$htly out of ti#e to !reate a lop) sided effe!t.ould s.ith a .ere #ore si#ilarities than #i$ht have been i#a$ined.2in$ that resulted .ard ti#e)2eepin$ that !hara!teri4ed even 6ast 7.ell)defined tone a real !larity of ideas and !onsistently stron$ #elodi! invention.hi!h #er$ed . Hi!2 <tephens $ot a t.it!h to bo.an$y per!ussive sound of his o.and or even fall into standard ja44 a!!o#pani#ent patterns A but in .ere #etalli! and bri$ht $ivin$ the #usi! so#ethin$ of a rhyth#i! pun!h as .aul Dun#all on soprano for this perfor#an!e sat on top of thin$s ta2in$ short pauses bet. As befitted the band)na#e thin$s .his playin$ is $run$ily distorted so#eti#es slidin$ into #etal)style riffs (.ith the phaser effe!ts and repeated note sequen!es of .ith stron$ ja44 !apabilities neither of .ith fusion players. .nor for the 2ind of hyper) a!tive squa.hen the instru#ent be!a#e popular .!ross bet.ith ele!troni! .hil Gibb's $uitar.n by usin$ brushes and #allets to stri2e or sti!2 under the strin$s of his bass.hile +an <taples ta2es his !ue fro# the volu#e and ti#bral qualities of the ele!tri! $uitar rather than fro# any set of pun2 !hords or $randstandin$ '$uitar hero' !li!hXs.ere often a little pensive but Dun#all's playin$ had so#e bite to it too his strea#s of notes never quite rea!hin$ free ja44 fero!ity but .anderin$ into 7(' territory.hooshes .ell as suddenly leapin$ out .een a vibraphone a #ari#ba and a .ed drones or har#oni!s . 1ed <quare have been $oin$ sin!e the E:O9s and thou$h their reputation su$$ested a #u!h noisier #ore 'in)yer)fa!e' approa!h than At#ospheres there .hen he sensed a !han$e in the #ood of the #usi!.ho# .it at least in part. +n parti!ular both bands featured soprano players .ylophone the sounds that he produ!ed . <i#ilarly the ro!2 ele#ents in 1ed <quare don't involve the tenden!y to strai$ht)for.ent for the 'e..hi!h he .ith an ed$iness to the# that prevented the #usi! fro# .oti!' *riental sound populari4ed by (oltrane. Both Dun#all and /on <ea$roatt played .nor for the syrupy s#oothness of /an Garbare2 and s#ooth ja44. 1o$er %elford's approa!h to his 2it is resolutely free .

ithin a freely i#provised !onte.ture to the #usi!.2s e#itted by free ja44ers A the instru#ent sounds parti!ularly o#inous turnin$ the tone of the #usi! to a 2ind of volatile #elan!holy.eiser $roup this . *n o!!asion the instru#ent is treated .)end dronin$ vibrations to upper re$ister fi$ures .t in a #anner that is both or$ani! and en$a$in$.!ite#ent buildin$ as its affinities .part of the #usi!al lands!ape" and very rarely si#ply settlin$ into #ere slabs of noise.ith pedal) treated $uitar for relatively brief se!tions that are less about the arti!ulation of individual notes #ore about the $eneral te.hole ne.ith ele!troni! effe!ts so that it be!o#es oddly #e!hani!al in sound addin$ a .een an!ient traditions and #odern innovations fol2 #aterials and ne.OD"EN .ith pro$) ro!2 and ja44 fusion #i$ht have su$$ested. #usi!al te!hnolo$ies that just happened to ta2e pla!e in 7n$land involvin$ <oft 'a!hine (o#us /ohn <tevens and %he %hird 7ar Band to na#e a fe..s in fro# the $arden and a tap drips so#e.ith none of the shrill squa.tent that one !ould identify re!urrin$ li!2s and his style never feels li2e artifi!ial e..oopin$ fro# lo.hi!h !o#bines .IA . NAC.as does the =aoss pad . What's ni!e about 1ed <quare is that .ture and quality of sound.ith Dun#all" hints of fol2 (<ea$roatt is a #e#ber of the re)for#ed (o#us and is #arried to Bobbie Watson one of the band's vo!alists".in$ of ea!h !y#bal in his 2it in turn and .MA. <o no stuffed)shirt !on!ert)hall aestheti!s here as the !old su##er air (yes this is Britain" blo. +'# re#inded if anythin$ of those vital '89s and 'O9s !ross)overs bet.STRC+ (er&ormed 01 4ominic 5as! H Contra0ass9 O/&ord% @Jt! Kune =?@?9 %he first in a series dedi!ated to the #usi! of the Wandel.they don't sa!rifi!e ro!2 $run$iness for tri!2sy fusion) or ja44)is#s and don't sa!rifi!e ja44 !larity and s2ill for si#ple obvious beats or noise a$$ression (thou$h they are !ertainly loudU". %he #usi! feels very open settin$ out a parti!ular 2ind of sound but .ith plenty of s!ope . eerie te.ith %elford's bo.ithin that sound A ja44 even (and this is so#ethin$ + thou$ht + !ould also dete!t . that that spirit lives on& not overly indebted to ja44 or ro!2 but free to use both $enres' freshest and #ost interestin$ ele#ents . +t's !ertainly en!oura$in$ to 2no.hat they play feels so fresh even no. spins throu$h riff)li2e and loopin$ fi$ures but he never see#s to repeat hi#self to the e. <ea$roatt's bass !larinet really !uts deep s#oothly s. <ea$roatt's sa.here off to ?sta$e left@.as intri$uin$ly set up as Do# 6ash perfor#in$ a ?$i$@ in his house& !ha#ber #usi! in the ori$inal sense of that ter#. E:A. .

ith Aeolian harps (as eviden!ed by the sele!tion on the obs!ure 6.n sa2e for display for sho.ists alon$side the equally i#portant ele#ent of listening hearin$.hi!h #a2es it an involvin$ and re.s hearin$ to ta2e pla!e. .ith the stereotype of the !ontrollin$ !o#poser .ho is not .perien!e .hi!h sounds ni!e . *ne !ould see this as essentially Webernian A the !o#pression of e. While it #i$ht be $oin$ too far to spea2 of ?#elody@ as su!h the pie!e does have a #elodi! quality .” %hat phrase is fro# her short pro$ra##e note for the pie!e in .n breath.hi!h is perhaps so#ethin$ aspired to in the #usi! of 7liane 1adi$ue".hen you ponder . drone after a passa$e of e.hi!h ulti#ately does drive 5ouben@s pie!e .are of one@s surroundin$s and of one@s body A the sound of one@s o." +n addition the notion of ?un!o#position@ is perhaps #eant to hint at the e. As 5ouben puts it Ha!htst^!2 “allo.rather that aspe!t e.ardin$ e.ards a !ertain looseness by #eans of !ontrast .!lusively quiet does feature frequent silen!es the #ost deli!ate of hi$h pit!hed)har#oni!s and an e. of a sy#phony.ould ar$ue that there is so#ethin$ i#portant in the !hoi!e of si#ile perhaps as a gesture to. ?<on$s of the Wind 5arp@" is that there is no dis!ri#ination bet.hi!h she also des!ribes “#usi! happenIin$J all by itself see#in$ly un!o#posed A li2e the sound of the Aeolian harp its strin$s set in #otion by a passin$ . But in fa!t the opposite is true of this pie!e& ?Ha!htst^!2@ a!tually !on!erns the e.and the return of the lo.hile not e. At the sa#e ti#e the de$ree of virtuosity required is very $reat A but this is virtuosity not for its o.n@ ran$e of #aterial. %he pie!e is not e.pansion of e.hile it #ay inspire ad#iration for the perfor#er@s abilities does not ta2e this as a raison d@etre does not #a2e it the pri#ary ele#ent.ritten as a pro$ra##e note but doesn@t #ean too #u!h .this is even #ore ?#ini#al@ in ter#s of #elodi! #aterial than late 0eld#an" .!lusively uses natural har#oni!s and one parti!ular dronin$ strin$ pun!tuated by lon$ silen!es.tre#e dra#a e.hi!h .illin$ as 5ouben is to $ive the perfor#er the audien!e or the sounds the#selves a !ertain freedo#.!lusively about the !reation of sound (#a2in$ a noise".tre#ely ?stripped)do. <o is the Aeolian 5arp analo$y si#ply a ?poeti!@ i#a$e A so#ethin$ .in$ off but in the servi!e of a radi!ally li#ited and fo!ussed sele!tion of #aterial that .n sto#a!h $ur$lin$ even the sound of one@s o.*ne pie!e on the pro$ra##e A an hour)lon$ 7va)'aria 5ouben !o#position for solo bass .hat it #eans? Well no + .een sounds no de!ision)#a2in$ pro!ess no shapin$ of #aterial A in other .” *f !ourse one i##ediately feels li2e quibblin$ that this is a !o#position.ith its repeated returnin$ pro$ression of notes.".tre#ely li#ited #aterial into a lar$e spa!e a lar$e ti#e span.tre#e event into tiny spa!es.hi!h lends it a !ertain ?anony#ous@ quality (on .quisitely deli!ate hi$h)pit!hed har#oni!s resounds (al#ost" li2e a $randly returnin$ #ain the#e at the !li#a.hi!h #ore belo.ind.ords no sense of hu#an a$en!y A and it is hu#an a$en!y . (Hote that this looseness this freedo# is by no #eans absolute for !ontrol and li#itation are vital fa!tors here. +t does not aspire to levitate fro# the body to abandon the earthly delusions of #aya for dise#bodied blissrather it #a2es one profoundly a.tre#e si#pli!ity of the #aterial (the hour lon$ pie!e al#ost e.further#ore the proble# .perien!e a pie!e of hu#an intera!tion. *r #aybe it@s about the eradi!ation of ti#e about a!hievin$ a state a2in to the e!stati! a)te#poral #o#ent ai#ed at in #editation. By this + don@t #ean to i#ply that the #usi! is si#ply so#e pie!e of hip arty Sen (or even a $enuinely Buddhist e.

ithout the a.ith a parti!ular dronin$ bass frequen!y a brief snat!h of ?* <ole 'io@ via an i!e)!rea# van o!!asional voi!es and shouts fro# distant $ardens and to.on the !ontrary it te#pts one to utopian $eneralisation.ith the !o#poser and perfor#er in ?!reatin$@ or shapin$ the silen!es throu$h brin$in$ a !ertain quality of attention to the# (althou$h that itself is !oloured by the notes that have sounded before".nin$ $ulf bet.so#ethin$ is shared bet.ould be entirely !orre!t.een perfor#er and !o#poser perfor#er and audien!e audien!e and perfor#er environ#ent and #usi! #usi! and environ#ent the !onne!tions the loops the interlin2in$ !hains for#in$ a 2ind of e. +t@s a 2ind of fra#in$ of environ#ent + $uess A the #usi! transfor#s the ?ba!2$round sounds@ and these sounds transfor# the #usi!.N TC." As for the perfor#er their ?eradi!ation@ !o#es about be!ause the #aterial !annot be ?e#otionally interpreted@ as #ost of the ?$reat . %his #a2es it sound as if +@# sayin$ that the audien!e shape the #usi! #ore than either the !o#poser or the perfor#er . KO.t".ICAI T.ith an al#ost over. *ne !ould even $o so far as to say that both ?!o#poser@ and ?perfor#er@ are virtually eradi!ated A the !o#poser be!ause they are !on!entratin$ on sounds so ?si#ple@ that they #i$ht be said to resonate . As su!h lan$ua$e indi!ates this #usi! is far fro# ?sterile@ or ?!erebral@.ould be a $ood point to stop . . <o perhaps no.IO Foll1 "rid e Inn% O/&ord% T!ursda1 =Jrd Septem0er =?@? *ne #i$ht not thin2 of the still ya.or2s@ of !lassi!al #usi! !an.ill not taint throu$h the utopian $eneralisations + threatened above. +n addition neither the perfor#er nor the !o#poser !an !ontrol the silen!es (nor for that #atter !an the audien!e but they can !hoose to shape the silen!es by the 2ind of attention they pay to the# as dis!ussed above".er (shades of %a2u <u$i#oto@s ?6ive in Australia@ A !an a natural o!!urren!e be said to ?refer@ to a previous .hi!h is si#ply not true.orld of i#provised #usi! as parti!ularly advanta$eous and broadly spea2in$ one .or2 of art?".e had a duet for bu44in$ flies bird!alls a jet en$ine #eshin$ . Be!ause a fair portion of the pie!e is devoted to ?silen!es@ (.hi!h is #ore !o##on perhaps to i#provised #usi!& an interpretation of post)(a$eian attitudes to ?silen!e@ . But there is a 2ind of sharin$ here . Honetheless there is a #ore fortunate side effe!t resultin$ fro# this state of .ards the end of the pie!e a non)#etri! rhyth# provided by a su##er rain sho.erful in its i#pa!t of the =ha4a2stany one)strin$ed viol the 2oby4. %hey #ust !ollaborate .ritin$ A and to !on$ratulate Do#ini! 6ash on hostin$ and $ivin$ this very fine perfor#an!e.hen the perfor#er is not #a2in$ any sound" the audien!e #ust assu#e an ?a!tive@ role (audien!e parti!ipation .ith the anony#ous pri#al resonan!e of fol2 #usi!& sounds that be!ause they belon$s to no one author belon$ to everyone as their shared possession.2.een the quality of the #usi! and the si4e of the audien!e in the .?Ha!htst^!2@ re#inded #e in ter#s of a !ertain li#itation of sonority e.tre#ely po. (+@# not so #u!h thin2in$ here of ?fol2 tunes@ as su!h but of that #ost !ru!ial ele#ent of fol2 #usi! the drone.(%his is true of ?redu!tionist@ #usi! in $eneral but + don@t thin2 that #a2es it any less relevant to this parti!ular perfor#an!e". dan!e. +n the end thou$h these thin$s are out of the audien!e@s hands as #u!h as they are out of the !o#poser@s or perfor#er@s.ard sense of obli$ation it !an so#eti#es assu#e in a theatri!al !onte.hi!h + .rather it #ust be played .in this perfor#an!e .quisite slo.hel#in$ fo!us on a!!ura!y (or as #u!h a!!ura!y as is possible".

ards .o a!!o#pani#ents on this o!!asion the 7n$lish dru# and bass pairin$ of /ohn 7d.ish to rush headlon$ throu$h the# all at li$htnin$)speed.n. + say ?e.the se!ond .ertion evin!ed by total #entalGphysi!al !o##it#ent to the #usi!" are not dro. Both 7d. profile one !an $et to see su!h superlative pra!titioners of the art as /ohn %!hi!ai in settin$s su!h as that in .tended do.ith an ele$ant si. 'arsh a dru#sti!2" durin$ #o#ents .hi!h /ohn (oltrane be!a#e 2no. %here .ei$ht of sound .tre#e.ho at ti#es let out a #u#blin$ vo!al #ur#ur in a!!o#pani#ent to his bass playin$ /i##y)Garrison style and 'arsh .ertion@ and + have in #ind %!hi!ai@s t.hi!h .as a !alypso %!hi!ai e#phasi4in$ .ill do it justi!e .ards and %ony 'arsh. his .hi!h he be!a#e 2no.illin$ to let the #usi! evolve and do its .ts as these& #elodi! yet open rehearsed yet elasti!.ay round his 2it" dropped #usi!al i#ple#ents (7d.as A on!e a$ainU A outstandin$ his playin$ displayin$ perhaps #ore than usual overt ja44 tou!hes that #eshed .ards s#ear that ended the #elody. %!hi!ai hi#self a stri2in$ fi$ure .tra!ts fro# both #e#bers of the sa.ith relish and al#ost hu#orous e.ere o!!asions .n at the audien!e fro# a sta$e on)hi$h his instru#ental voi!e (#is)"translated throu$h the ele!troni! boo# of a .hi!h he perfor#ed on this ni$ht A una#plified and !lose not bar2in$ do. ?Dou Don@t =no. area of investi$ation.ith %!hi!ai@s vo!abulary but also plenty of ?out@ .here their physi!al involve#ent .hi!h he #ay also deploy in the !ourse of an i#provisation".ere a !ouple of sheet)#usi! stands on ?sta$e@ but the #usi! .ards . phrase a ne.A syste# but at the sa#e level as the audien!e on the sa#e floor just a fe. +nstead he plays inventively #elodi! and !aptivatin$ly open i#provisations& lots of phrases are repeated so#eti#es .lin$ hon2in$ lo.ned out but !an ta2e their pla!e as a vital part of the #usi!@s !ontinuin$ ar$u#ent a 2ind of sub)plot to the #ain dra#a ta2in$ pla!e in the .a!2 and thud of feet on floor the sound of breath of the e. What 6ove +s@ #ade a brief appearan!e in the first pie!e.ay fro# the front)ro.ed his involve#ent for the #ost part si#ply by playin$ beautiful en$a$in$ and en$a$ed #usi! thou$h there .er re$ister potential of the tenor %!hi!ai #ostly avoids su!h sounds and even the #ultiphoni!s and altissi#o that #ar2 the opposite hi$h)re$ister e.affairs& be!ause of the #usi!@s lo.ophone rather than the alto for .a$$eration the lon$ deli!iously e.here a #ove#ent fro# one side of the roo# to the other !an !reate a per!eptible shift in dyna#i!s in the . 7d. feet a.orld of notes tones and har#onies.ophone fa#ily is re#ar2ably si#ilar piquant and individual li2e an e.n in his later perfor#an!es.)foot)plus fra#e sho.ith no shorta$e of ideas but no need or . 5is #ain instru#ent of !hoi!e sin!e the E:P9s has been the tenor sa.ell does he 2no. 5e is no hurry .ith shades of the e!stati! drivin$)to)abandon of the blues ?$ut)bu!2et@ hon2ers thou$h #ore often as if to tease out the full i#pli!ations of the repeated phrase until it sprin$s into a ne.here the ?a!!identals@ (the th.ards his bo.as never $overned by a si#ple the#eGsolosGthe#e stru!tural te#plate A *rnette (ole#an@s $reat innovation in the B9s playin$ on the ?#ood@ of the son$ rather than its !hord)!han$e stru!ture bears fruit still half)a)!entury later in su!h !onte. !hairs A .here his 2nees bent in the 2ind of !alistheni!s for .ith his eyes !losed (so .ell .tension of or a #usi!al !o#ple#ent and alternative to his spea2in$ and sin$in$ voi!e (. Whereas #any free ja44 players e#phasi4e the $ro.ho li2e %!hi!ai spent #ost of the perfor#an!e .ith the #usi! had rea!hed its #ost fevered pit!h.n in the E:89s& nonetheless the parti!ular quality of tone he e.or2 at a speed .

as no supportin$ a!t on the evenin$ .ell as sa.ith ?other .later so#e .as displayed in $roup .d of people !a#e to.ith the past .as all about !o##uni!ation .hole $i$ rather than bein$ squee4ed into a sin$le slot .orld of possibilities e!hoes prophe!ies borro.ophone playin$.een G the #other of all re!ipes” A these .e are trapped by routine and the for!e of !ir!u#stan!e& rather it is a .perien!e #odes of bein$ and apprehension".ard #e. IEJ /ohn %!hi!ai ?untitled@ (pp.ith the i#prints left by people in physi!al spa!e on physi!al surfa!es the history e#bedded in sand or soil or star the sense that in so#e .s #ade #ar2s on a bea!h .ho inhabit it& that travel is not si#ply a #atter of te#poral and $eo$raphi! pro$ress (thou$h the lines about $eo$raphy do indi!ate this as a the#ati! !on!ern" but so#ethin$ that !an be a!!o#plished in the present #o#ent as a #eans of !o##uni!ation . %here .ith the #ultitude of spea2in$ and sin$in$ hu#ans .pand and develop their interplay over the !ourse of a .ith a (oltrane referen!e (Giant <teps A thou$h this . After an interval the se!ond set found %!hi!ai playin$ flute as .ould be li2e if all those hu#ans and ani#als .!han$e .ay the earth itself is voi!ed in e.ed by bo.in$s sharin$s.” “*n arrivin$ ” !ontinues %!hi!ai “+ put #y ear to the rubbery surfa!e of the starG and + heard a sound as if a $reat !ro. %he ?here and no.al2in$ bass patterns !areenin$ fi$ures produ!ed by slidin$ both hands in su!!ession over the ne!2 of the bass and #uted a!!o#pani#ent produ!ed throu$h variation in fin$er pressure on the strin$s to %!hi!ai@s flute playin$. “%he #other of all re!ipes ” inG deed.ords about $eo$raphy and dire!tion (#ove#ents north south east .here everythin$ has to !oales!e instantly and at speed.” IEJ %he poeti! !on!ern in both !ases see#s to be .or2 so#e in solo spots and 'arsh . 1enate de 1in" (buddy@s 2nife ja44editions C9E9" . “%ruth is foundG in bet.orlds@ (other spheres of e.ith %!hi!ai.hat it .or2 published thou$h a poe# does appear in the re!ent antholo$y ?<ilent <olos& +#provisers <pea2@& li2e that re!ited in *. 6i2e (e!il %aylor %!hi!ai has not had boo2s or even pa#phlets of his .ophone (he brou$ht thin$s to a quiet !lose on this instru#ent his repeated in!antation shado.ith the audien!e .er 'il2y Way.tural needs of the #o#ent.as also afforded so#e solo ti#e his playin$ radiatin$ a joyous sense of possibility and a sense of #elodi! invention as he developed en$rossin$ solo patterns on the 2it and traded playful fours (or near)fours" .ford it !on!erns itself .ith spe!ulative and only) half rhetori!al questions drea#s i#a$inin$s A in this latter !ase a visit to “thatG stran$e loo2in$ star in the lo.ere brou$ht to$ether at the sa#e ti#e in that sa#e pla!e.e had stru##ed double)stops pun!hy th.@ is thus revealed as #ore than just a banal present)ness in .ith ea!h other .hi!h see#ed just ri$ht& .hi!h .ere lines intoned al#ost son$)li2e .ELB)8" in ?silent solos& i#provisers spea2@ (ed.ith the history present and future of the #usi!. Whi!h transfers appropriately to this trio@s perfor#an!e& it .as fleetin$ and the poe# . %hus .a!2s and bu44in$ vibratin$ strin$s .as than2fully not another ?(oltrane@ poe# bul2ed up by quotations of son$ and albu# titles" and then a spe!ulation on .hi!h see#ed to spur on a parti!ular vi$orous se!tion of sa. <o#e of this .onderful that a band li2e this should be able to e.te!hniques all adapted to and fro# the e#otional !olouristi! and te.est" .hose feet and !la.ed bass" and re!itin$ so#e lines of poetry.

O: MIN4 IS MO:IN' T!e Nunner1 -"o# Arts Centre2% 5ondon% @=t! Fe0ruar1 =?@@ 7enni?er % Bm ($io in)3 ReCecca .ays e.or2 has be!o#e a frequent subje!t of dis!ussion .isted (A'' 'usi!a 7lettroni!a Miva and Gruppo di +#provvisa4ione Huova (onsonan4a !o#e to #ind" !ontra the journalisti! #ethod of buildin$ up and stratifyin$ divisions .i>on (ce o)3 . Honetheless there is a definite sense that so#ethin$ ne. *f !ourse this !loseness has al.ithin i#prov !ir!les and there@s been an in!rease in the frequen!y .MIC.ith .hile . is afoot $iven the .ithin both !a#ps.ithin pre) deter#ined narratives and positions.ith .isaro@s star has been risin$ re!ently A at least his .hi!h his .or2s are perfor#ed (albeit in s#all and sparsely)attended venues".een ?#odern !lassi!al !o#position@ and ?free i#provisation@ findin$ !o##on aestheti! $round . What this #eans in relation to the usual !onnotations of ?risin$ stars@ is harder to jud$e. ense#ble ?arran$e#ent@ on the ba!2 of the ?hype@ of the past !ouple of years.hi!h are not nearly as i#portant to the pra!titioners of the #usi! the#selves as to !riti!s and ?taste)#a2ers@.AE5 (ISA.eiser $roup is the fa!t that they are hard to pla!e .ominic -ash (doBC e Cass)3 'enri 2E>C! (ABitar)3 7amie Co eman (trBm@et)3 Tim .arkinson ($oice)" 'i!hael .or2s in the sa#e senten!e.hat #i$ht see# al#ost petty !on!erns .isaro assu#es the role of ?a!ade#i! !o#poser@ (he tea!hes at (alArts".ith the Wandel.but it doesn@t see# stran$e to dis!uss their . At the sa#e ti#e it@s hard to disentan$le serious !riti!al !onsideration fro# . %he ?'ind is 'ovin$@ series is a!tually a fairly early .and indeed one of the #ain points of interest .isaro et al straddle !lear)!ut lines bet.ay that 'alfatti .isaro and other !o#posers and perfor#ers asso!iated .or2 datin$ fro# E::8 and it@s interestin$ to !o#e to it in a ne. %hus 1adu 'alfatti !o#es fro# a ba!2$round playin$ ?hi$h)ener$y@ free ja44 .

7yes !losed.as so#ethin$ ja$$ed and un!o#pro#isin$ to . Desterday@s perfor#an!e as + e. %his sta$e is probably inevitable . %he first !ontained #ore ?ense#ble@ playin$ A overlappin$ drones in !on!ord and $entle dis!ord the preponderan!e of strin$ed instru#ents $ivin$ so#ethin$ of the feel of 6a 'onte Doun$@s early %rio for <trin$s.hi!h rather than ?#ovin$ for.as it an e.ith silver letterin$ that read ?#y sub!ons!ious drove #e@. 0urther#ore the fa!t that .ith the perfor#ers even the traffi! outside dyin$ a. audien!e and perfor#ers !oped . *n!e this happens on!e that shift o!!urs and everythin$ !li!2s into pla!e it@s a#a4in$ A but it #ay ta2e a sli$htly un!o#fortable half)hour or #ore for that to happen.ith a sense of parti!ipation hei$htenin$ the sense of o!!asion and the so!ialG ritualisti! fun!tion of the #usi!.hibition pie!es on the .eiser sho.thewatchfulear.hat .ay these silen!es .op)Arty e.ay to just a #ur#ur.ith a !on!ert ?#arathon@ (+@ve no idea ho.tre#e len$th but be!ause of the details of the #usi! itself .ith lon$ lon$ silen!es in . #ore fid$ety people #ovin$ about and leavin$ or arrivin$ the ritual of !rea2in$ .alls and floor (a pin2 !anvas .perien!ed it fell into so#ethin$ li2e three se!tions one for ea!h hour. the pie!e start to unravel to spread and splay out to be!o#e #ore sparse A and at the sa#e ti#e the audien!e be$an to $ro.ith the distant e!ho of voi!es and various other !rea2s and thuds visual disjun!t bet.uberant !haoti! 0lu.een several different instru#ents .ays this .)#otion dan!e an inte$ral part of the pie!e. %his .as the si#ultaneous perfor#an!e of several separate solo .ere filled .erfor#an!es li2e these !o#e to see# li2e enduran!e tests not just be!ause of the e.ith #ore ?blissed)out@ drone #aterial but neither .inter@s evenin$.e . . into as !an be the !ase .ould suddenly drop out introdu!in$ an abrupt !han$e in te.ith the EC)hour Wandel.as also the se!tion + enjoyed the least findin$ it hard to $et into the len$thenin$ silen!es irritation at the .itnessin$ . %he se!ond sa.hi!h the audien!e finally breathed in unison .ard@ alternates bet.$uitar strin$s #aintainin$ and sustainin$ their sounds as they . up in Glas$o. last #onthE" A and it . Despite the softness and the quietness the si#ultaneity .a $iant free)standin$ !ut)out de!orated .but it .ere a!tually .relatin$ to the physi!al !ir!u#stan!es of attendin$ a !ontinuous three)hour !on!ert perfor#an!e on a British .)2ey tea !ere#ony.or2s added to the ?severity@ of the aestheti!& just as a parti!ularly $or$eous s.hen one is fa!ed .bass plu!2s $ivin$ a body to various drones only to e!ho out a$ain leavin$ the initial sound #odified yet the sa#e.as .el!o#e i#buin$ the audien!e .een non)develop#ental drones sta!!ato plu!2s and bursts and len$thy silen!es or near)silen!es. .as there to a!!o#pany a 2ind of updated lo. +n so#e .ith the <tars and <tripes" and #ost i#portantly (perhaps leadin$ to all of the above" physi!al dis!o#fort fro# sittin$ for hours in a hard plasti! !hair as the roo# $ot steadily !older.een the sounds + .as hearin$ and the $arish .ellin$ !on!ord bet.as ar$uably the ne!essary prea#ble to the final se!tion on the ni$ht filled .ere stru!2 . 1oss 6a#bert@s un!or2in$ of the lid of his ther#os flas2 and subsequent pourin$ of s#all portions of stea#in$ !offee see#ed deliberate even sta$ed as if the #usi! .us happenin$.as rea!hed one voi!e .ooden floorboards and the shufflin$ retrieval of ba$s fro# under seats !o#in$ to ta2e on the feel al#ost of a 2ind of slo.ture.ith a 1 See http://www.hi!h the listener had to adjust the#selves Ato #ove their #inds to the #ove#ent of the #usi!.as not #usi! that one !ould easily rela.com/?p=4 !4.

T 0or #e that 2ind of idio#ati! re$ister .ho .pression se#anti! in a musical sense.to be honest + probably .spo2en .one al#ost felt that it .hi!h +@d li2e to !onsider before !on!ludin$. +n his liner notes to the (D release of ?'ind is 'ovin$ +@ (as played by .anted to $et a.ay as soon as they !ould in any !ase". +@ve no idea ho.ay #ore quietly rather than snappin$ out of that #ood . #ore questions raised by the !on!ert . #uted lendin$ a plaintive ja44 infle!tion (throu$h sin$le notes and ti#bre rather than throu$h any spe!ifi!ally ja44 phrases". the event . s!rape.vo!ality as only se#i)lin$uisti! e.asn@t really present in the .ouldn@t have #u!h patien!e listenin$ ba!2 on a ho#e stereo but it felt i#portant to #a2e the step up fro# the hour)lon$ live Wandel.ed qui!2ly on the end of the pie!e and everyone had to hurry out of the buildin$ (so#e people probably .histlin$ or soft s!rapin$ of the strin$s.eiser perfor#an!es +@d heard previously to one of three ti#es the len$th./a#ie (ole#an@s tru#pet no.ay + suppose but there are still a fe.ould !o#e out on a re!ordin$ (+ noti!ed a Soo# tu!2ed a. .ith his $uitar playin$ and uses the noises to !larify the rhyth#.not effe!ts but pure #atters of !ourse.ay behind a !hair so presu#ably so#e sort of per#anent do!u#ent does e.ist".ould have been #ore appropriate si#ply to end in silen!e and drift a.a !ello tone held for a beautiful a$e har#oni!s rin$in$ and sin$in$ and #ournin$ and 2eenin$.erhaps there is here the faintest re#inis!en!e of the i#a$e of a fol2 sin$er . Applause follo.isaro hi#self on $uitar" /^r$ 0rey notes that apart fro# the ?re$ular@ $uitar notes the#selves Tin this #usi! other thin$s quite si#ply turn up& li2e the o!!asional . %hat@s the #ain body of the report out of the .hi!h the roo# had shared durin$ that final hour or so.histles alon$ .vibratin$ 5B pen!il.ords sounded sin$le and separate so#eti#es !oales!in$ into a story or poe# or a su$$estion of su!h A na#es A hints at phrases A ?histori!is#@ ?an$el@ ?6ouis@ A often audible only as a!ousti! presen!e as a half)heard si$nifier .ithout the si$nified.rou$her violin bo.

ant to filter out (the e.here it !an soundIQJ%he pie!eIQJ!reates all by itself over the !ourse of its lon$ resoundin$ its o. . %here is no su!h thin$ as the ?pure@ .o positions& .hat stru!2 #e about the .or2 only so#ethin$ that e. volu#e se!tions in . .ere plenty of lo.hi#s of environ#ental a!!ident.as part of the . *ne #i$ht say that there are t.hat un!riti!al.n site& a pla!e .al2#an in a !ro.hi!h it #odifies and is #odified by.o levels to the s!ore& first the notated #aterial .rXvost@s rhyth#i! rubbin$)to$ether of his hands to 2eep the# . 5o.a#ple there .ists in the .realisation of the . Durin$ yesterday@s perfor#an!e for e. site (a bloody)#inded i#position on a previously)e.a!tly the !reation of a ne.erhaps then it .as a 2ind of !hee2y #usi!al !ontribution s#u$$led into the spa!e on the sly.!essive !ou$hin$ that #ar2s !on!erts of !lassi!al #usi! durin$ any #o#ent of quiet for e. After all the lesson . *f !ourse there are ?undesirables@ .ith noise)redu!in$ headphones? on a . 0or every #o#ent of !oin!idental #a$i! (rain on a resonant roof a strate$i!ally) pla!ed poli!e siren" there are nu#erous other lon$ueurs in .here does one listen? in a !o#fortable ar#)!hair .ever in a pie!e li2e #ind is #ovin$ (+" the prevailin$ i#pression is that the pie!e itself #ust first !reate the site .as the fa!t that it .ritten s!ore& the notation of a!!ident or if not pre!isely of a!!ident of #aterial that #i$ht nor#ally be !onsidered ?in!idental@ to the ?proper #usi!al substan!e@ the ?#eat@ of a pie!e.ere barely louder than the ?in!idental@ sounds .e@ve learned fro# (a$e@s L@KK” is that all the #aterial soni! and other.a#ple" A and yet perhaps the attitude to.hi!h the typi!al sounds of an urban environ#ent !o#e to see# !li!hXs of the #usi! despite the fa!t that they all !o#e fro# ?outside@ the !ontrol of the perfor#ers. %his latter ele#ent #ay only e#er$e at !ertain relatively brief #o#ents (and !an be edited out entirely durin$ studio re!ordin$s"nonetheless it !an prove i#portant.eiser #aterial (#uffled traffi! roar people@s !hairs and !lothes !rea2in$ and rustlin$ their sto#a!hs ru#blin$ their throats !learin$" and one #i$ht ar$ue that the (notated" .ritten for spe!ifi! pla!es or opportunities (.ded street? in the ba!2$round .hen referrin$ to a re!ordin$ but it hardly see#s realisti! .hat o!!urs is not e.here it !an /ive.hi!h the s!ore a!tually too2 a ba!2 seat to the environ#ent a!!identals around it.ar#.ill vary a!!ordin$ to the #usi!ians@ !ontrol in playin$ A for e.orld .hether for the !on!ert hall or a spe!ial perfor#an!e" and then fulfill the fun!tion intended for the# in that pla!e. 0rey on!e #ore see#s to disa$ree& T'any pie!es !reated today are .ell they !an sustain a held forty)se!ond tone on tru#pet A re#ains broadly the sa#e set up as it is .rXvost is of !ourse a #usi!ian and perhaps this hand)rubbin$ (.hi!h invariably fill su!h silen!es in live perfor#an!es of Wandel.a#ple ho.hi!h one #i$ht .een .or2 that + heard yesterday and . +nstead it is a play a dialo$ue an ar$u#ent or !ollaboration bet.istin$ spa!e" nor is it a situation in .hen one !onsiders the typi!al !ir!u#stan!es of a live perfor#an!e A and indeed even the !ir!u#stan!es of listenin$ ba!2 to a re!ordin$ (. .ould #a2e #ore sense to !o#e to a synthesis of the t.T 'aybe this is true .ithin the perfor#in$ spa!e is part of that parti!ular interpretation of the pie!e.ithin !ertain fairly stri!t para#etersand se!ondly the #aterial that arises fro# the physi!al !ir!u#stan!es of the perfor#an!e lo!ation.histlin$ had at ti#es less of a presen!e than audien!e #e#ber 7ddie . <o#e of the very quiet sounds that peppered the near)silent portions of the !olle!tive realisation (short pp or ppp sin$le notes" .hile surfin$ the internet?".ards this has re#ained so#e.hi!h thou$h it .hi!h o!!urred several ti#es throu$hout the !on!ert" .ise that is present .histlin$ .hi!h the #usi! is pla!ed helplessly at the .

ay in .ploration.a$ies (e ectronic har@3 nBtcracker3 @a@er) Tim .ay into the pristine !loistered spa!e of the .alled art)$allery and arts venue + #ust ad#it that the Hunnery proved very #u!h !ondu!ive to su!h spatial e.the spa!e and the #usi! that ta2es pla!e .ol1#ell Music .oom% O/&ord% @Lt! Fe0ruar1 =?@@ %nAharad .a$id +tent (e ectric ABitar3 @a@er)3 BrBno GBasta a (ce o3 nBtcracker3 @a@er)3 .hite). The +(T (nsemC e: .aB /hitt! (accordion3 nBtcracker3 @a@er)3 .atrick 4armer (drBm3 acoBstic ABitar3 nBtcracker)3 +arah 'BAhes (aBtohar@3 nBtcracker) .a$ies ($io in) Rhodri . And .arkinson (@iano) . AN4 F5DNDS: CONCE(T AS SCO.E . WAN4E5WEISE.peri#ental .ith the .hile +@# a little un!o#fortable .ominic -ash (Cass3 nBtcracker3 @a@er)3 .hi!h e.or2 li2e this $ets sequestered a.ithin it.

n the instru!tionsGs!ores (althou$h in the end #ost of the 'infor#ation' needed !a#e a!ross in the perfor#an!es A it's not as if there . 2 http://www.com/?p=4"%$ 4 S&'ce th&( re)&ew wa( wr&tte'.o' wh&ch th&( re)&ew wa( or&-&'all0 po(te* 1http://(tream(ofe. %his be!a#e parti!ularly apparent in the #ore !on!eptual pie!esthe first ite# on the pro$ra##e a ne. out ele#ents of 1i!hard@s analysis into so#e broader ar$u#entative threads .ill hopefully prove useful $round for debate.pre((&o'.ed #e to read 1i!hard .nonetheless thin$s re#ained quiet throu$hout and the ?loudest@ part of the evenin$ A a !o#position for violin and piano by %i# .ith his revie.e both appeared to have noti!ed si#ilar details and #o#ents in the #usi! so it #i$ht see# rather pointless for #e to $o over the sa#e $round.nonetheless it fun!tioned .ere perfor#ed on the ni$ht tra!2in$ do.as so#e #a$i!al '2ey' that allo. .ith the Wandel.ford Broo2es >niversity it paired 0lu. +t . +n fa!t thou$h +'d li2e to dra.ho !an play least quietest last. .as it .ell).+lo-(pot.as a. &'*ee*. (onsequently there .perhaps benefi!ial on this o!!asion as it allo. of the $i$ (posted at '%he Wat!hful 7ar'".elled by the addition of 1hodri and An$harad Davies and %i# . And finally those e.tures available.eiser $roup. %he sli$ht ti#e la$ also enabled to resear!h so#e of the !on!eptual pie!es that .thewatchfulear.ell as an introdu!tion establishin$ a parti!ular at#osphere and ne!essitatin$ a parti!ular #ode of listenin$. <trin$s #er$ed .a#inin$ the !on!ert itself.s one to unlo!2 the pu44lin$ '#ystery' of the pie!es and they see# fairly transparentGa!!essible in any !ase".ith #odern)day !on!eptual pie!es by !o#posers asso!iated . %his #ar2ed only the se!ond ti#e that the full version of the <7% 7nse#ble had perfor#ed in a publi! lo!ation havin$ previously !on!entrated on private house !on!erts.us s!ores fro# the 89s . Given the title (?5ei2ou@" + thou$ht . a'* of the +lo.as al#ost as #u!h sensed at the ed$e of per!eption as heard outri$ht.ell as the s#aller !onfi$urations .hi!h . there ha(.ith e)bo.orn to #a2e #u!h of an i#pression.ed #y thou$hts to settle even if + #i$ht have lost so#e of the #ore spe!ifi! details of #y i##ediate i#pressions.cha'-e &' the comme't( (ect&o'( of .K of the 'i!hael .C As .as a fairly si4eable ense#ble on sta$e (as .thewatchfulear.innell's revie.n at the lo.ithin this".ith silen!es in four barely #ove#ents differentiated by little other than the #usi!ians turnin$ the pa$es in their s!ores.&char*/( (&te.ar2inson. days allo.ay for a fe.ithin lar$er $roups and at ti#es one senses that a 2ind of !o#petition is ta2in$ pla!e to see not .ar2inson@s stru##ed strin$s do.ever so +@ll be$in by e. +ee' (ome e. days.After attendin$ this $i$ + .ere further s. %here@s a parti!ular 2ind of tension about enfor!in$ restraint .art of a three)day festival or$ani4ed by the <oni! Art 1esear!h >nit at *.com).ed $uitar and ele!troni! harp %i# .as a ni!e) soundin$ pie!e if !on!eptually rather too .ill ta2e us do.ho !an play hardest fastest lon$est loudest but .tra fe.er end of the piano addin$ an undulatin$ palpable ba!2$round shi##er that .as the relation of title to !o#position re#ained #ore !rypti! drones alternatin$ .L %hat .n so#e side)tra!2s ho.on this o!!asion their ran2s . !o#position by 1adu 'alfatti fo!used #ore on a !olle!tive ense#ble sound ta2in$ full advanta$e of the ran$e of instru#ental te.com/?p=4"#$ 3 http://www.ar2inson A o!!upied nothin$ #ore than the de!ibel levels of an avera$e !lassi!al !on!ert.e #i$ht have so#e arran$e#ent that refle!ted the stru!ture of hai2u poetry.isaro ''ind is 'ovin$' event .

nonetheless and thou$h +@# not sure for pre!isely .” +n this reali4ation the perfor#ers #oved off the sta$e to !o#e and sit a#on$st and near the audien!e.ould !ause the #a.ell before vanishin$ a$ain as if enveloped by the hi$her)pit!hed drone.een the respe!tful and the ridi!ulous that perhaps differentiates Wandel.ho .i#u# possible nu#ber of feathers to es!ape onto the floor.0ollo.atri!2 0ar#er pla!ed a s#all table in the #iddle of the floor. #a2in$ the feathers es!ape the pillo.as si#ilarly i##obile for the #ost part althou$h he did o!!asionally $lan!e a!ross at his duo partner as if questionin$ .ell as the tenden!y for serious !onte#plation to des!end into $i$$les and absurdity.pe!t rather #uffled and dead but the feathers billo.ere t.Davies .us .een #ain floor and door.in$ Geor$e Bre!ht pie!e than it did durin$ the Wandel.ere bein$ played for satisfa!tory listenin$.hi!h pea2ed handfuls of feathers. At a ti#e that you !hoose yourself !ra!2 a nut.peri#ent testin$ the politeness of the audien!e (a pro#inent !ou$h at the start of the 'alfatti had been loudly shhh@d" as .et!" they then re#ained in poses of !on!entration and stillness ea!h eventually ta2in$ up the nut!ra!2er they had pla!ed beside the# and fulfillin$ the s!ore@s instru!tions.as e#ptied fallin$ upended on the floor to reveal the !opy of %he Guardian ne.ay. at points . .soon the pillo.ell as one of the #ost visually arrestin$ and jo2ily a#usin$. Breathe silently #ove silently if you !hoose.ithin the sa#e aestheti! perhaps due to the s!ore@s fo!us on silen!e& “<tay for a lon$ ti#e in a roo# in .us perfor#an!es Ben$t af =lintber$@s ?*ran$e 7vent Hu#ber CL@.hile plu!2ed a s#aller sound fro# his bass that e!hoed in the naturally reverberant hi$h)!eilin$@d a!ousti! of the 5oly.usversion C@" reads& “Dru# .ith .6ash and 5u$hes on opposite sides of the sta$e.ards the latter (and to.e sa. 7ventually he let slip a sin$le e)bo. %his .eiser fro# 0lu.hile holdin$ his bass has been refined throu$h the several <7% 7nse#ble perfor#an!es of the last year or so.el!o#e.as !o#pleted by the pair of dru#sti!2s in 0ar#er@s hands . 5avin$ ta2en up various individual positions (Whitty standin$ in the passa$e bet.hat reasons this one !a#e off .ithout #a2in$ a sound? *ne sensed also that this . 6ash@s i#pressive ability to stand sto!2)still . 6ess reverential #ore !ons!iously absurd than the 'alfatti it nonetheless too2 pla!e .hi!h has roo# for the for#er but tends to. +t@s that fine line bet.ed out ni!ely and one $ot enou$h of a sense of the 2ind of patterns that .ards the one)liner" A thus it felt #ore appropriate to snea2 a s#ile and a side). 5ere .ell.” .on the table .eiser .as the pillo.as a 2ind of so!ial e.Davies hi$her up in the hall.as #aintained as it turned out for a further ten #inutes as 1hodri Davies and 6ash too2 to the sta$e to perfor# <arah 5u$hes@ ?for 1il2e@. *ne other se$#ent before the interval.ith sti!2s over a lea2in$ feather pillo. Honetheless the roo# did not des!end into $i$$les and the silen!e .or2s.ho should #a2e the first soni! #ove.spaper .ed tone sustained and risin$ in volu#e (but not too #u!h" for several #inutes.ould be the last to ?!ra!2@ .hile also strivin$ to stri2e the pillo. the !o#petitive aspe!t for the first ti#e& . Geor$e Bre!ht@s ?for a dru##er (flu. %he setup .hi!h there is silen!e. .hi!h .hi!h .6ash #ean.as a pie!e that didn@t outstay its . + $uess there@s a !ertain fra$ility to these 2ind of !on!eptual pie!es that depends very #u!h on the parti!ular !ir!u#stan!es of the perfor#an!e.o verti!al rips out of ..in$ this !a#e the first of the evenin$@s 0lu. and in the pillo.ays and despite appearan!es the #ost !onventionally ?#usi!al@ ite# of the ni$ht as .ays $lan!e durin$ this and the follo.hi!h he pro!eeded to unleash a virtuoso dru##in$ display 2eepin$ up fast rhyth#s . are as one #i$ht e. %he soni! qualities of a pillo.this bein$ in so#e .ho !ould re#ain the lon$est ti#e .

ith len$thier solo episodes for violin ta2in$ on a sli$htly #ore e.not too #u!h of a surprise then to see the auditoriu# e#pty by #ore than half durin$ the inter#ission. bein$ said. 5e !ontinued ho.ever it .as bein$ perfor#ed.or2 as su!h .orried by suddenly bein$ the !entre of attention .ooden surfa!e of her instru#ent".ere attra!tive enou$h but as si#ilar patterns and fi$ures 2ept re!urrin$ it felt as if spa!e .ooden table underneath.thus a rando# spe!ta!le of $rave)loo2in$ #en tearin$ up strips of paper one by one .t s!ore entitled ?so#e@& the #usi!ians !an !hoose any t. %he final ite# on the pro$ra##e& <tephan %hut@s ?#any E)L@.as a$ain a ni!ely)done pie!e.nonetheless if one too2 it on ter#s of spe!ta!le and ?perfor#an!e@ as a $eneral !ate$ory it . 7a!h of the five perfor#ers is $iven a spe!ifi! nu#ber of pie!es of ne.instead it@s here that +@d li2e to ta2e up a point #ade by 1i!hard .ay to finish it.as played .ays of tearin$ and #anipulatin$ the paper #ar2 these on their sheets and then $o throu$h the list at their individual !hosen pa!e.hi!h #ade for a rather di$nified endin$.they then sele!t ite#s fro# a list of different .hi!h .s bet.as transfor#ed into an interplay bet.as probably as . +@# not $oin$ to !o##ent on the .as bein$ filled .ithinGalon$side it. Durin$ Ben . >pon refle!tion it had been a .pansive #elodi! ed$e.ere played in unison and alternation by both instru#ents . A fe.ife An$harad Davies see#ed less broadly !on!eptual #ore thorou$hly throu$h)!o#posed than anythin$ else . #inutes of this .ithout #u!h ne.as #ore !onventional than the post)EC)tone lan$ua$e of #u!h #odern !lassi!al #usi!.e@d heard on the evenin$presu#ably ho.for #e the pie!e !ould have done .ith .ith tiny sounds (althou$h there . 5ard to jud$e the pie!e in ter#s of its soni! quality thou$h this .ith the #ore playful ele#ents of the 89s 0lu.as that .ie!e@ + benefited fro# bein$ able to pee2 at the s!ore as it . %i# . +n total this .had been prote!tin$ the .ar2inson@s pie!e for violin and piano played by the !o#poser and his .aul Whitty@s held a!!ordion note and An$harad Davies@ slo.ell)balan!ed first half offsettin$ the seriousness of the 'alfatti and 5u$hes . 0i$ures that sounded so#ethin$ li2e s!ales and e.ever at the sa#e pa!e apparently un.hole the #usi! . %he <7% ense#ble too2 this to #ean very lon$ silen!es pin)pri!2ed .innell in relation to this parti!ular reali4ation of the pie!e.ith a rather dry quality that see#ed to a#ount to a deliberate avoidan!e of e#otional !onnotations even if its tonality . slidin$ of her violin bo.ith half his pile to !o#plete.hile four of the #usi!ians finished at rou$hly the sa#e ti#e Bruno Guastalla suddenly found hi#self alone . %he !onsequen!e of this freedo# .spaper tissue paper !ard et!.here .ed by the environ#ental sounds that too2 pla!e behindG. alon$ the .aper .[sound and y[noise playin$ these at ?so#e@ point over an unspe!ified period.er!ises .as a ni!ely ?upbeat@ .as as it turns out rather overshado.@ and ?y@ .hi!h it shared the pro$ra##e.ith bein$ half the len$th and it la!2ed the i#provisational ed$e of the #ore open !on!eptual pie!es .as a fairly len$thy !on!ert A a $ood :9 #inutes at least. *n the .ere so#e #ore sustained #o#ents su!h as .atterson@s ?.een syste# and interpretation and a study of $roup dyna#i!s.us s!ores A and the Bre!ht .ide a variety of sounds as is possible to $et fro# sheets of paper. +n parti!ular +@d li2e to address the !ontrast he dra. + believe this is a variation on an earlier te.o !o#binations of ?.een beautiful #ini#al .as based on so#e 2ind of spe!ifi! (#athe#ati!al?" syste#.

ith for + believe that art is #ore i#pli!ated and !au$ht .perien!e see#ed to su# up so #u!h of .eiser is still quite a s#all #ove#ent relatively spea2in$ both in ter#s of .hat pre!isely it is that this .hi!h e.ere present as #u!h as pre!isely .!ite#ent that briefly flared durin$ those #onths (and . At ti#es they !an see# al#ost prissy .ays of bein$ and relatin$ and !reatin$ and #a2in$ and sharin$ !an be e. After the student protests of late C9E9 + #ulled over so#e ideas about ho.er post)(a$eian silen!e)fo!used #usi!s do not.e have our so!ial bein$ A art does not have a!!ess to ?eternal@ truths in so#e supernatural a) so!ial sense (thou$h of !ourse it does have !han$in$ #eanin$s over ti#e".onder if this is be!ause #u!h of the i#petus behind Wandel.at the sa#e ti#e (and + thin2 this ties in . the separate studio and perfor#an!e spa!es in . + half) .ternal sounds .orld is ?outside@ (outside us in our little noo2s and !rannies and !ubby)holes?" and ar$ue that there is no .in$ .orld than is often a!2no.led$ed.orld rather than the ja44 linea$e of for .eiser $roup and related tenden!ies in free i#provisationG!o#position see# at ti#es to espouse so#ethin$ approa!hin$ dan$erously !lose to an ivory)to. Honetheless free i#prov .orried by the .ay that #u!h re!ent !riti!is# (1i!hard's in parti!ular" . #odes and .hat + feel about #odern life.ith the spirit of resistan!e and e.or2& thin2 of the uproarious 'usi!ir!us or the !onne!tions to 0lu.hi!h ne. of us . art #i$ht tie in .indeed one #i$ht as2 .ebs and stru!tures of that .orld" !on!ludin$ that one #i$ht vie.or2 and routine and the triu#ph of neo) liberalis#.plored !an be tested out a.orld is one + have so#e proble#s .eiser et al !o#es fro# the !lassi!al .us and sho.ay in .further#ore Wandel.hi!h !riti!s and fans of the Wandel.ere a little bubble of !al# and !onsideration in a .orld in .orld outside.as a parti!ularly valuable #anoeuvre.ould see# to tie in .as be$innin$ to arti!ulate in #y previous post on the .n .orld ?outside@ that . +n that sense #y vie.idespread !riti!al attention and in ter#s of si4e of venues audien!es nu#bers of re!ord)buyers et!.er aestheti! in so#e of their state#ents.isaro $i$" +'# a little .asn@t that e.hi!h is !ertainly not the !ase .at!hin$ .eiser and 0lu.ant of a better ter# 7uropean 0ree +#provisation.hi!h #usi! and art is !reated in .ternal sounds. *f !ourse the histori!al linea$e is not that si#ple as +'ve ar$ued before.asn@t too diffi!ult to brin$ #yself to bear on the !ontributions of the #usi!ians and try and 4one out the intrusions but for a .hi!h 'avant)$arde art' happens as laboratories sites for e.” %his notion of art as !o!oon or !ontrast to the nasty outside . +t see#ed as if this little $roup of #usi!ians and the fe.ith 1i!hard's. And yet and yetQ" + ad#ire the .hi!h .ith so#e of the points + . +t .ay fro# the stri!tures and routines of the .ith its ba!2$round in the ba!2)roo#s of pubs its . .orld of .hi!h is !urrently flarin$ far #ore bri$htly in 7$ypt and a!ross the Arab .ith (a$e's o.sounds and silen!e and the !rass noisy brutal .or2in$)!lass entertain#ent)industry)s!hooled pioneers (Dere2 Bailey" and its !onne!tions to Afri!an)A#eri!an #usi!al traditions and all the politi!al and ra!ial !onnotations that brin$s see#s to #e to have a '$rit' to it that the ne.orld full of u$ly vo!iferous !rudeness.us and its anar!hi! politi!al visions or the babble and !hatter of the radio #usi!.peri#ent in .hat they have in !o##on as the !on!ert under !onsideration did . “+t .hile at least this fifteen #inute or so e.ithin the . (0or that reason brin$in$ to$ether Wandel.

hi!h is a!tually just personal preferen!e s#u$$led in under an ideolo$i!al or taste)#a2in$ $uise (+'# thin2in$ here of the sort of borderline ra!ist ja44 !riti!is# analy4ed by 6e1oi /ones in '/a44 and the White (riti!'".ill be sounds”"" and as it is used in #usi! !ontains a diale!ti!.perien!e (.hi!h renders L'KKT as #u!h a pie!e of 'noise #usi!' as a 'silent pie!e'" it see#s that a $ra##ar or vo!abulary has developed in the past fifteen years or so as to pre!isely . Heither does one pretend to a standard of obje!tivity .eren@t listenin$ to an 7D6 or BH. .ed in silen!es.ith the attendant fo!us on environ#ental 'a!!idental' and found sounds as a valid and valuable part of the #usi!al e.plored and !reated but also e.ists at all (re#e#ber (a$e@s visit to the ane!hoi! !ha#ber? (“until + die there .hel#in$ly positive !overa$e that this #usi! has been re!eivin$. !reatin$ to so#e e.eiser that + feel #ay be too easily overloo2ed in the al#ost over. %his does not #ean a si#ple '+ li2e re!ord N be!ause it li2e sine tones and + don't li2e re!ord D be!ause + don't li2e free ja44'.hi!h #i$ht do .ere the ?sin$ers@ to 2no. While the in!lusion of silen!e .and thus thou$h + enjoyed %hursday's !on!ert findin$ it valuable and inspirin$ and e. fro# (a$e's L'KKT alon$ . %his is a spa!e oddly poised bet.ould have preferred the final pie!e if it had not been a!!o#panied throu$hout by drun2en pub sin$)alon$s. But at the sa#e ti#e + find #yself thin2in$ of #usi! as a valuably so!ial !o##unal thin$ in .ary of !ertain aspe!ts of Wandel.ith hu#an a!tivity are sirens the #uffled ru#ble of urban traffi! !rea2in$ !hairs the o!!asional sounds of #ove#ent to let us 2no.hi!h beautiful sounds and silen!es !an unfold in pea!e and bein$ so#e. +n any !ase ho.per#itted natural sounds are thin$s li2e rain or hail or .hibits a deter#ination to be honest about the role played by one's personal preferen!es in #a2in$ !riti!al jud$#ents. +t is a shared e.!itin$ in #any respe!ts + also find #yself .as just a pub sin$)alon$. <ilen!e as #u!h as it e.!ludin$ those people .yes of !ourse that feelin$ !an be !o)opted by undesirable ele#ents and yes #anufa!tured pop son$s #i$ht not be quite the sa#e thin$ as the oral inheritan!e of anony#ous ballads and tales but +@# pretty sure . %here is al.e .a#ination.ith so#e further e.hi!h the door is left half open to let !ertain 'a#bient' sounds tri!2le in so#ethin$ of the 'outside .traneous sounds are allo.perien!e for the devoted fe.perien!e are an essential and vital part of fol2 traditions. At the sa#e ti#e there is a dan$er that su!h honesty !an at ti#es shade over into ideolo$i!al jud$#ents .ho la!2 the ?sophisti!ation@ to appre!iate the virtues of quiet sustained drones and ten)#inute #otionless pauses. that a roo#ful of K9 people or so .hi!h it sou$ht to repla!e.hi!h e.een bein$ a separated sealed)off isolation !ha#ber in . . rally ne.!lusion of the #ore so!ial and noisier ele#ents of livin$.ays a dan$er point in artisti! !ultural politi!al #ove#ents in .ould see# to follo.orld' to e#er$e (thou$h nothin$ to fri$hten the horses".ist and play so#e role in one's listenin$.t)door A it .instead an atte#pt is #ade to $rasp and understand one's preferen!es even as one does not si#ply pretend they do not e.ere busily tryin$ to listen to lon$ silen!es just a!ross the road? <u!h a question #ay .here in .er#itted hu#an sounds or sounds asso!iated .ind. +t at on!e for!es a fo!us on spe!ifi! physi!al details of bein$ hu#an ) breathin$ bodily rhyth# ) and de#ands a redu!tion or e.hi!h !olle!tive sin$in$ fa#iliar #elody the sense of !a#araderie and shared e.hi!h the initial rush of !reation and dis!overy and innovation ris2s stallin$ $oin$ no further be!o#in$ just as entren!hed as that . 1eturnin$ to 1i!hard@s point + .ould have to ad#it that + too .tent a !o##unal spa!e in . that the audien!e is still alive and breathin$.hi!h relations that are so!ial as #u!h as #usi!al !an be e.e.

ere sort of drafted into doin$ live perfor#an!e by Bru!e Gallanter of Do.ired her so#e #oney in advan!e. %he (D features a live !on!ert by Bone (Did2ovs2yG5opperG1oulat" that .and that his passin$ .u ! .see# trivial. Some Final Ne#s <o#e readers #ay re#e#ber an intervie..here e. <o she did.as a !all for finan!ial help.e . to Bone .opper% .e . <o it loo2s and sounds very very $oodU 0or those of you ne..hi!h pay tribute to 5u$h. 5o.ere a trio that .a!tly is it that this #usi! is situated?' and that@s a hard nut to !ra!2.nto. *ur re!ord T>ses Wrist GrabT !a#e out on (uneifor# a fe. T!e 'i&t o& (urpose S+D Cunei&orm JJJM T+ $ot a #essa$e a fe.e !ollaborate on a re!ord.ith 5u$h 5opper fro# an early edition of eartrip.as initiated .orth.hen 5u$h !onta!ted #e so#e years a$o su$$estin$ .e fi$ured . %here is also a bonus tra!2 by #yself /ohn (olin 'arston (Behold. +t therefore feels only ri$ht to dra..ere done. <he reported that sin!e 5u$h's passin$ she's been stru$$lin$ .ith finan!es. years ba!2 and . +n response /ohn 1oulat <teve 0ei$enbau# and + de!ided to produ!e a li#ited edition benefit (D '%he Gift *f .urpose'.ife (hristine. Daevid !ontributed so#e very #ovin$ vo!als . <teve has already . attention to the follo. *f !ourse she's also stru$$lin$ e#otionally as she #isses hi# terribly but the $ist of her #essa$e . . T%he Gift of . /ohn <teve and + are splittin$ the #anufa!turin$ !osts and donatin$ the $ross in!o#e to (hristine.ith !over desi$n by Bill 7lls.urposeT is a (uneifor# 1e!ord in di$ipa2 for#at .e . the Ar!topus Dysrhyth#ia =ralli!e" and Daevid Allen (Gon$ <oft 'a!hine et!".as sadly noted in a subsequent issue. #onths a$o fro# 5u$h 5opper's .as beautifully re!orded at *rion <ound in Balti#ore.ever . <he re!alled that 5u$h told her that if she ran into trouble to as2 their friends for help.yet it for!es us to as2 one that's far #ore diffi!ult& na#ely 'just .in$ proje!t& .n 'usi! .

'ra!am Mac+eac!an is based on the ed$e of 6ondon. .ho have a$reed to pay the 5opper fa#ily the full sellin$ pri!e of gEB.aul 'ay and bassist Do#ini! 6ash".orld" that 5u$h's fa#ily . 5e .!o#G'usi!). 7very !ent of your gEB.n 'usi! Gallery in He.ho invited us to perfor# at a festival he'd or$ani4ed. Dor2 (ity and Wayside 'usi! only. +f 5u$h's lifeti#e in #usi! #eans so#ethin$ to you + hope you .99 $oes to 5u$h's fa#ily.urpose]](uneifor#)sp!)KKKL. %hat #eans that ri$ht no. Mark W!ite&ord has been involved in free)i#provisation sin!e the E:P9s .urpose. Ale/ander +indness is a #e#ber of +)()7 (the +#provisin$ (larinet 7nse#ble" and the trio =indnessG 'ayG 6ash (.arms plays a!ousti!Gupri$ht bass.ith per!ussionist . We're very proud of the perfor#an!e .as involved .ith =athryn 6adano and the founder of the M*( <ilent 0il# 5ar#oni!.blo$spot.ith the Bristol +#provisers (olle!tive and subsequently . 5e .as re!ently revived in Bri$hton.a$esU" and blo$s on http&GGtonotfallasleep.ould find the#selves in su!h !ir!u#stan!es and + a# doin$ everythin$ + !an to help.rodu!tsG 5opperh5u$h)))%he)Gift)of).!o#.ill support this proje!t by pur!hasin$ a !opy of %he Gift of .Gallery .ford.e did a handful of $i$s in!ludin$ the one on this re!ord.T)Hi!2 Did2ovs2y %his (D is only bein$ sold by people . 5ist o& Contri0utors 5ut* Eitel is a freelan!e .ill !onsider helpin$ too. 5is super)P fil#Gperfor#an!e proje!t 'A!t of 6ove' . 4avid 'rund1 the editor of this #a$a4ine is a re!ent $raduate of (a#brid$e >niversity.or2s #ostly on the !onte#porary art beat (buildin$ te#ples to !apitalis# at slave .e !ould pull off this #aterial live .orld (and definitely bein$ one of the !oolest people in the .ith the Bristol +#provisers (olle!tive and the 6'( and still plays .e dis!overed . *n!e . %he (D !an be pur!hased fro#& http&GG.ith the trio Ghosts Before Brea2fast.99 ea!h !opy.ayside#usi!.nto.e !an #a2e it available to all of 5u$h's friends throu$h this benefit (DU + hope you . 5e is involved in free i#provisation in Bristol (heltenha# F *.asp.riter editor and translator based in 6eip4i$ Ger#any.e unleashed in Balti#ore and thrilled that . Ted .ith Sariba. you !an buy it fro# Do. 5e is the !o)founder of the =it!hener) Waterloo +#provisers (olle!tive (=W+(" . +t pained #e $reatly to learn that after L9 years of $ivin$ su!h $reat #usi! to the .

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