Originally a studio project, The UK Deep Tide Trio of Martin Archer on sax, Kim Macari on trumpet, Laura Cole on piano and Walt Shaw on percussion & live electronics evolved into a performing organization based on the strength of their open-ended approach to free jazz and improvisation, heard here balancing melody and structure in well-paced and thoughtful improv.
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Catalog ID: 64CD
Squidco Product Code: 24583
Format: 2 CDs
Packaging: Cardboard foldover
Recorded at Chairworks, in Castleford, England, on May 8th and 9th, 2017, by David Watts.
Walt Shaw-percussion, live electronics
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1. Just A Moment In Time 2:17
2. Arundel #I 6:05
3. Slip trip (for Geri Allen) 10:11
4. The Anne Tree 5:35
5. See One, Do One, Teach One 8:52
6. I Am Here / Phone In Rice #I 12:21
7. The Self-Threading Needle 13:29
8. Be One 1:10
9. Arundel #2 7:57
10. The Great Goatsy 7:33
11. One More Moment In Time 2:30
1. Song For Gato Barbieri 5:36
2. Deep Tide 11:26
3. DC Blues 5:28
4. I Am Here / Blues In Rice #2 12:43
5. The Imploder 4:33
6. Fishers & Farmers 7:45
7. Twopenny Hitch 9:35
8. Crackerjack Favours 11:10
9. Migration / Flight 4:11
10. Wayne's World 2:07
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sample the album:
"Open ended jazz playing with no stylistic limits - written scores, graphic scores, improvisation - improvisation which is inclusive of melody and structure - whatever we feel like playing - plenty of space for the music to develop its direction - concentrated and careful listening - ultimately rooted in, and building on the tradition of, pure jazz skill no matter where the music takes us."-Discus
"See One, Do One, Teach One - the debut album from Deep Tide Quartet - comes out on Discus on August 1st and we're playing at the Verdict in Brighton tonight. I absolutely love being part of this band and "Arundel" is one of the pieces I wrote for the album...
"Arundel" is a piece of music based on the idea of gaps. It was the result of a kind of triangle of inspiration; Phillipe Sands' book East West Street, the work of Anne Truitt & a discussion I had during psychotherapy about the reason for nightmares & dreaming.
The title of the piece comes from a series of Anne Truitt paintings of the same name. A major theme in her work, both on canvas and through sculpture, is the use of straight lines and blocks of solid colour. I was drawn to her work because I find it soothing; there's something settling and calming that makes me want to be in their presence. In her journal, Daybook, Truitt recounts a conversation she had about conveying meaning and intent in art forms without words. She asked - what if someone who spoke no English and knew nothing about you came to view one of your exhibitions. The descriptions hung next to the works would be of no use; what would you expect that person to get out of work?
I replied that I did not expect, I hope. What I hoped was that something in their experience would, in some unpredictable way, rise to meet the work. We then agreed that, faced with the fascinating problem of translating what we know with the just accessible parts of ourselves into the available physical terms, we simply do our best, leaving all result aside.
That phrase, 'rise to meet the work' struck me. It felt as if I was reading someone far more eloquent than I put words to my thoughts about composing music for improvising musicians - with the music I write, I hope that something within the musicians rise to meet the work and create something far beyond the written (or drawn) material.
Around the time of the recording session (which took place at the beautiful Chairworks Studios back in May), I was reading Philippe Sands' East West Street. This non-fiction book recounts the events that led to the inclusion of the terms 'crimes against humanity' and 'genocide' in the Nuremberg Trials and the stories of the two lawyers who created them - Hersch Lauterpacht and Rafael Lemkin. Sands references a Nicolas Abrahams quote -
What haunts are not the dead, but the gaps left within us by the secrets of others.
My therapist had a really good way to describe the function of dreams, especially when related to PTSD. When a trauma occurs, she said, it is so different from all your other experiences and memories up until that point that your brain doesn't know where to file it. Furthermore, the details of the traumatic experience are too difficult to process so it remains an incomplete file as it were. It can't be stored until it's complete so the brain attempts to fill in the gaps with guesses and imaginings and dreams are the result.
Here is a little extract from my journal on 3rd May 2017.
I have come to realise that to ignore a gap simply increases it power. The darkness grows and seeps into other parts of the mind. So, one must acknowledge the gap and endeavour to fill it, which can often be done, or accept that it cannot be filled, which is sometimes inevitable. By filling it or accepting it, you remove its power. Either shine a light in the hole to confirm that no monster lurks there, or else build a bridge so you can walk safely across.
Arundel is the product of all of these thoughts. The score is contains 11 blocks, made up of black and white sections. Players read down from the 1st to the 11th in order. They are provided with the score, the Nicolas Abrahams quote and the instruction that each block is a combination of gaps and non-gaps. How that is interpreted is up to them."-Kim Macari, Kim Macari website
Get additional information at Kim Macari Website
• Show Bio for Martin Archer
"Martin Archer was born in Sheffield, England, in 1957. He started playing saxophone at age 15 and first got active on the Sheffield improvisational scene in 1973. In the early '80s, he recorded an LP with Bass Tone Trap, his first group. In 1983 he formed the saxophone quartet Hornweb, which, in ten years of existence, released three albums. It is during that time that Archer released his first solo album, Wild Pathway Favourites (1988) and founded the Discus label on which he since releases all his music.
In 1993, he disbanded Hornweb and turned to synthesizers and sequencers while shifting his activities from stage to studio. He developed a compositional approach in which he records improvisers soloing, then manipulates this raw material, combining it with electronics and structuring it into a whole new piece. This technique is illustrated on Wild Pathway Favourites, Ghost Lily Cascade (1996), and Pure Water Construction (with bassist Simon H. Fell, released in 1999). Later works such as Winter Pilgrim Arriving (2000) moved toward more constructed and less abstract pieces, even making room for melodies and rhythm tracks at times.
Apart from his solo work, Archer is also involved in Ask, a duo with guitarist John Jasnoch, and Transient v Resident, an ambient electronics project with Chris Bywater."-All Music, François Couture
"Martin Archer is a composer / improviser who is equally at home on stage or in the studio. His own distinctive saxophone playing is rooted in AACM jazz. Through his use of keyboards and electronics, and as a studio producer, he extends this interest into extended song form and leftfield rock music. He is also co-director of the uncategorisably avant choir Juxtavoices.
His principle music work is the Discus Music label, the imprint for his various releases, notably by the groups described below.
His current jazz based projects include Engine Room Favourites (current a 4 drummer, 14 piece big band), Story Tellers (6 piece group including shaman instruments alongside the conventional instruments), plus various ad hoc smaller groups. All of these are strongly aligned with AACM tradition and teaching.
Archer has a long running duo with veteran vocalist Julie Tippetts. Each of their highly acclaimed CD releases deliberately explores song from a different perspective - the duo aims to be truly progressive, and takes in elements from jazz, rock, soul and pure abstraction.
Archer's main live performance vehicle is the trio Inclusion Principle with Herve Perez and Peter Fairclough. The group operates in a space between electronics, nu-jazz, contemporary electroacoustic music and free improvisation. In performance you will hear pure jazz skill, electronic beats and areas of texture and abstraction all seamlessly woven into a fascinating and constantly shifting tapestry of sound.
The sprawling Orchestra Of The Upper Atmosphere was formed by Archer as an improvising rock group with shades of Terry Riley, Magma, Alice Coltrane and Sun Ra, very much in the progressive / krautrock tradition, and noted for its large scale string, horn and vocal arrangements.
Also in rock music, Archer is a member of the USA based heavier than plutonium prog / sludge / zeuhl group Combat Astronomy under the direction of Jamie Huggett.
Surprising, delighting and occasionally alarming audiences for a number of years now, Juxtavoices is a 30 piece choir for mainly untrained voices co directed by Archer with Alan Halsey which has racked up dozens of performances and issued three CDs.
This eclectic combination of sources and highly individual applications makes Archer a unique inhabitant of the school of English maverick composer / improvisers. "-Discus-All Music, Discus Records (http://www.allmusic.com/artist/martin-archer-mn0000146946)
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• Show Bio for Kim Macari Stone-Lonergan
"Since moving to Leeds in 2008 to study Jazz at Leeds College of Music, Kim Macari has been developing a reputation as a player, band leader and educator on the jazz scene across the UK.
She has played in numerous large ensembles including Tommy Smith Youth Jazz Orchestra, National Youth Jazz Orchestra of Scotland, John Warren's Voice of The North and the James Hamilton Jazz Orchestra, amongst others, and has had the chance to play alongside a number of highly respected jazz musicians including Kenny Wheeler, Mike Gibbs, Henry Lowther, Dave Liebman, Jacqui Dankworth, Phil Robson, Christine Tobin and Arild Andersen.
Her own projects perform regularly at jazz venues throughout the UK. Her two year collaboration with Leah Gough-Cooper and their sextet LOCUS resulted in two well received UK Tours which included a number of high profile festival dates and an archive of live recordings.
Kim's work as a performer and as a band leader has garnered recognition in the press and has been she been twice nominated as Young Jazz Musician of the Year and also Big Band of the Year by Jazz Yorkshire. In 2013, Kim received an Emerging Excellence Award from Musicians Benevolent Fund (now Help Musicians UK). This funded an extended stay in New York, where she studied with Ingrid Jensen and Ralph Alessi and recorded at Tedesco Studios.
Kim's current creative focus is on quartet Family Band, a chordless quartet which draws inspiration on the music of late Coltrane, Ornette Coleman and Jim Black amongst others. Family Band have been selected as one of 10 flagship ensembles in the North by Jazz North and are currently planning the release of their first full length album.
In addition to her work as a musician, Kim is also active in behind the scenes. She currently runs Apollo Jazz Network and is currently the director of the Orpheus Project, a large scale touring initiative which sees international jazz artists collaborate with UK musicians and tour throughout the North of England. Their featured artists have so far included Ingrid Jensen and Ellery Eskelin."-Kim Macari Stone Website (https://kimmacari.wordpress.com/about/)
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• Show Bio for Laura Cole
"Laura Cole is a jazz composer/pianist who lives in Leeds but whose band (Metamorphic) is based in London. Metamorphic features, Kerry Andrew (vocals), Chris Williams (alto),John Martin (tenor/soprano), Paul Sandy (bass), Tom Greenhalgh (drums).
Metamorphic will play in Jazz in the Round at the Cockpit Theatre on Monday January 28th. They also have a gig at the Vortex on the 24th February with Frank Byng's (Slowfoot Records) quintet, Snorkel.
The group have one album out (The Rock Between, 2011, F-IRECD43 - reviewed by Chris Parker), and release their follow up (Coalescence, also on F-IRE) later this year (2013).
Laura also has a blog which discusses the issues that women face in music and holds a First Class Honours Degree in Jazz from Middlesex University."-London Jazz News (http://www.londonjazznews.com/2013/01/artist-profile-laura-cole.html)
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• Show Bio for Walt Shaw
"Walt Shaw is a freelance musician and artist from near Derby in the Midlands. He has been involved in a host of arts projects for the last 28 years. Prior to becoming a freelance musician and artist he was, for 14 years, Head of Biology in a large Comprehensive near Burton-on-Trent. This was after teaching in Lincoln and northern Nigeria (VSO). His projects have ranged from exhibitions of paintings and sculpture, both solo and group, to installations, to cross-disciplinary collaborations with dancers and physical performers. In these latter projects his experimental percussion and low-tech electronics have always played a significant role.
In 1989, Walt, along with the artist Kevin Burnley, co-founded the artist group BET4. They exhibited widely in the Midlands and in Germany and Paris. By 1993, the group widened in scope, becoming increasingly involved with not just exhibitions but installations, live art and cross-disciplinary projects. These usually integrated elements of contemporary dance, live sound and physical performance along with a strong visual aesthetic. This gave Walt opportunities for experimenting with percussion in unusual contexts as well as the creativity of that visual aesthetic. Performances took place throughout England as well as Scotland, Paris and Germany. The work of BET4 had a profound influence on all the subsequent solo and collaborative projects Walt has been involved with.
Walt has enjoyed 3 major Arts Council England awards for projects. These were for 'Polarities', 'Timepoints' and 'Entropic'. Along with the artist Simon Piasecki he also carried out the A.C.E. project 'Mendel's Garden'. He has been a collaborative artist in many other A.C.E. projects. Details of all these can be seen in the 'Live Art / Cross-disciplinary' section.
Education has played a significant part in Walt's work, even after 1989.
He has carried out many workshops in both art and percussion in Primary, Secondary, F.E. and H.E. in the Midlands and the North. He has been an artist-in- residence at Melton Brooksby College in 2005 and Abbot Beyne School, Burton-on-Trent in 2009. Walt ran Creative Percussion Discussion in Derby from 2004 through to 2005, working with youngsters under the auspices of Derby Jazz. In 2006, Walt was a tutor in a Clore Duffield Foundation project working with teenagers in Belper, using an old car as a source for art, percussion and performance. 2006 saw a project alongside the inspiring musician Orphy Robinson, working in schools to make instruments from scrap objects and improvise with them. This was a Creative Partnerships project.
Walt has played with many leading improvising musicians from the U.K. and abroad and is presently playing in several bands (see 'Music') whilst still producing visual art ( see 'Visual Art'). It is fair to say he has an unease about specialism and arbitrary categorizations. His creative development over the years has always been very difficult to pigeonhole. His creative process is the same whatever the medium though, involving searching, experimentation, expression, pushing the boundaries and refining."-Walt Shaw Website (http://www.waltshaw.co.uk/about.php)
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