The Squid's Ear Magazine


Rogers / Dunmall / Bianco: Dig Deep Trio (FMR)

The British improvising trio of tenor saxophonist Paul Dunmall, 7-string bassist Paul Rogers and drummer Tony Bianco performing two long and serpentine improvisations at Delbury Hall, Shropshire in 2010.
 

Price: $14.95



Quantity:

In Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 3.00 units


EU & UK Customers:
Discogs.com can handle your VAT payments
So please order through Discogs

Sample The Album:





product information:

Personnel:



Paul Dunmall-tenor saxophone

Paul Rogers-7 string bass

Tony Bianco-drums


Click an artist name above to see in-stock items for that artist.




UPC: 786497181322

Label: FMR
Catalog ID: FMR 314-0511
Squidco Product Code: 14849

Format: CD
Condition: New
Released: 2011
Country: Great Britain
Packaging: Digipack
Recorded at Delbury Hall, Shropshire on February 20th, 2010 by Chris Trent.

Descriptions, Reviews, &c.

The British improvising trio of tenor saxophonist Paul Dunmall, 7-string bassist Paul Rogers and drummer Tony Bianco performing two long and serpentine improvisations at Delbury Hall, Shropshire in 2010. The track listing on the CD shows two pieces - "Absolute" and "Mary", but on disc the former is divide in 4 tracks, and the latter in 3. The interplay is intricate as all 3 dig deeply into the pieces, the music convoluted yet exultant, as only three long-standing masters of the form can perform. Exceptional!


Get additional information at Music and More

Artist Biographies

"Paul Dunmall was born 1953, Welling, Kent; saxophones, clarinets, bagpipes, miscellaneous wind instruments.

As told to Watson (1989), Paul Dunmall was a working class lad from Welling who left school at 15 and spent two years repairing instruments at Bill Lewington's shop in Shaftesbury Avenue, London. He turned professional at 17 and, following two years touring Europe with a progressive rock band (Marsupilami), joined the Divine Light Mission, a spiritual movement led by Guru Maharaj Ji and moved from London to an ashram in America. He told Isham (1997), 'I moved to an ashram full of musicians - a music ashram - but it was still spiritual practice. That gave me a spiritual understanding through meditation, Coltrane's music, and all the rest of it, led me to that, and that's been a fundament in my life ever since - that I can actually sit down and meditate and forget my body. I realise how important meditation is in my life... but I don't do it so much these days.' During the three years he lived in America, Dunmall played with Alice Coltrane (in a big band with the Divine Light Mission) and toured for twelve months with Johnny 'Guitar' Watson.

Back in England, he played with Danny Thompson and John Stevens as well as folk musicians Kevin Dempsey, Martin Jenkins and Polly Bolton and then, in 1979 he became a founder member of Spirit Level (Tim Richards, piano; Paul Anstey, bass; Tony Orrell, drums), staying with the group until 1989. During his time with Spirit Level, Dunmall joined the two-tenor front line group Tenor Tonic with Alan Skidmore (1985), played and broadcast with Dave Alexander and Tony Moore in the DAM trio (1986) and formed the Paul Dunmall Quartet with Alex Maguire, Tony Moore and Steve Noble (1986).

In 1987 Paul Dunmall joined the London Jazz Composers Orchestra, being a constant member and appearing on all their recorded output from that date onward. The following year the improvising collective quartet Mujician was formed by Keith Tippett, Dunmall, Paul Rogers and Tony Levin and has continued to be a regular performing, touring and recording group, sometimes augmented by other musicians. Dunmall has also played in a trio with Keith and Julie Tippetts and in Keith Tippett's big band Tapestry. Two other duos have also sprung out of Mujician: Dunmall with Tony Levin (two CD releases) and Dunmall in folk-influenced outings with Paul Rogers. Another regular playing partner throughout this period and up until the present includes Elton Dean.

In 1995, two trios were formed, the first with Oren Marshall, tuba and Steve Noble, percussion, the second with John Adams, guitar and Mark Sanders, percussion, these sometimes coming together as a quintet. More recently, Dunmall has played in another reeds/guitar/drums trio with Philip Gibbs and Tony Marsh and there appears to be regular crossover between all these players. The Paul Dunmall Octet was founded in 1997."

Dunmall also has released a large number of albums and a box set on the UK FMR label, in various configurations and instrumentation.

-EFI (http://www.efi.group.shef.ac.uk/musician/mdunmall.html)
10/2/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Paul Rogers - Double Bass

Born : April 27th, 1956 - Chester (Wales)Past Bands : Keith Tippett Sextet (1978, 1983-84), Elton Dean Quintet (1979, 1995), John Stevens Away (1980), Skidmore/Rogers/Levin (1984-87), Dunmall/Rogers/Levin (1984-87), Mujician (1988-), Pip Pyle's Equip'Out (1990-95), Sophia Domancich Trio (1990-99)Current Projects : Mujician + various jazz groups

A Short Bio:

For Paul Rogers, music began in earnest at age 12, when he first picked up an acoustic guitar. In a way this was the shape of things to come, since that particular guitar only had four strings left. Two years later, he took up bass guitar, and then, with the money earned from various jobs, finally acquired his own double bass in 1973.

Moving to London in 1974, Rogers started gigging in pubs, until he met saxophone player Mike Osborne, and through him was introduced to the free jazz scene, soon sharing the stage with such luminaries as Elton Dean, Keith Tippett, John Stevens, Howard Riley, Stan Tracey, Ken Hyder, Alan Skidmore, Evan Parker, Tony Marsh, Kenny Wheeler and John Etheridge. During this period, he was rarely in the same group for too long, preferring to accumulate experience through associations with as many musicians as possible.

After 1984, however, he started working on a regular basis with drummer Tony Levin, in trios with either Alan Skidmore or Paul Dunmall. In 1988, the Dunmall/Rogers/Levin trio with absorbed into the acclaimed improvising quartet Mujician, which associated them with pianist Keith Tippett. The group has existed ever since, playing totally spontaneous music, and released several albums for the US label Cuneiform.

In 1987, Rogers moved to the USA, living in New York City (and more precisely Bronx) for a year and a half, and playing with the likes of Gerry Hemingway, Don Byron, Myra Melford, Mark Dresser, Tom Cora and Tim Berne. Soon after returning to Europe, he was recruited by Pip Pyle for the new line-up of his jazz quartet Equip'Out. Elton Dean and Sophia Domancich completed the group, which only lasted for a handful of gigs and an album recording, "Up!". Although Equip'Out didn't record after Domancich left in 1991, the band continued until 1995, with Francis Lockwood taking over on piano, followed by Patrice Meyer who introduced guitar into a previously piano-based line-up.

Having established both a musical and personal relationship with Sophia Domancich during their Equip'Out days, Rogers joined her trio, with Bruno Tocanne on drums, soon replaced by Tony Levin, a line-up which remained in place until 1999 and recorded several acclaimed albums. Now settled in France, Rogers has also worked with such improvisers as Michel Doneda and Daunik Lazro, but remains active on an international basis, having worked in recent years with Andrew Cyrille, John Zorn, Derek Bailey, Lol Coxhill, Barry Guy, Joachim Kuhn, Alex von Schlippenbach.

Rogers is also a composer, and has been involved with different bands playing his tunes, among which the most notable was 7 R.P.M. and the Paul Rogers Sextet (which did a 10-date UK tour in November 1990 performing his 'Anglo-American Sketches' suite). He received three commisions from the Arts Council of Great Britain to compose music for his own band. Under his own name, he released a quartet album with frequent associates Paul Dunmall, Sophia Domancich and Tony Levin, as well as an entirely solo set.

Among Rogers' tours, four of the most outstanding were the Harry Beckett Trio middle east tour in 1984, Evan Parker Trio tour of Rumania, Yugaslavia and Greece in 1985, First House tour of South America in 1986, and the Dennis Gonzales Band tour of the USA, featuring Carlos Ward and Tim Green in 1990."

-Calyx Canterbury (http://www.calyx-canterbury.fr/mus/rogers_paul.html)
10/2/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"The unlimited vistas of music show us our own limitless perceptions of our being. My hopes of music are my hopes for art and humanity. I was born in New York City, the son of a drummer and the grandson of a guitar player. I always saw music as a work of heroes. My father saw music more as a vocation than an occupation. I was lucky. Growing up in New York City I could experience the greatest sounds in jazz. Seeing these greats play was a blessing. I remember seeing Elvin, Mingus, Art Blakey, Woody Shaw, Miles, Liebman, Tony Williams, Dexter Gordon, Ron Carter. What an experience. This intensified my love for this music. I always thought that there was a point to it all. A reason. I took chances in my life because of this. I was always single-minded. I had a hard time compromising. I knew being a musician was a career, but I was never business minded. I just floated. Of course, my father was always anxious for me. He wanted me to play some kind of jazz he understood, but I just played what I heard at the time. I felt jazz was a very contemporary sound, not just a sound that was based on the past although I have great respect for the past. I think these perceptions come naturally from the time we live in. Progress. What is sound? What is perception? I never felt I was good enough. A father who loved the greats can be very intimidating. I was always searching for some perception that was my own. There was a time I thought 'forget music - it's impossible. You'll never have your own attitude'. Then I heard John Coltrane. He made me feel it was possible. Praise and Thanks.

Of course growing up in New York I thought these sublime thoughts but I had to make a living. I thought of myself as a drummer. I did what I thought a drummer should do. I became, of course, less idealistic and did all kinds of work - any work that would come my way. This included all genres. I thought of myself as a jazz musician but I seemed to be playing everything else except jazz. I got a steady gig in New York City in a warm-up band in a famous comedy club - Catch a Rising Star. It's a legendary comic club that a lot of the great comedians came through (Jerry Seinfeld, Chris Rock, Robin Williams, Richard Belzer). It was actually a great experience - kind of like a talkshow band (Jay Leno, David Letterman). It was a steady gig and it was real easy, and of course I could just float. The bass player on the gig was Lloyd Mair. He was a devotee of avant garde music and jazz. He knew some really interesting things about jazz. I learned a lot from him. Lloyd was great. Of course being at this club I played in some pretty interesting situations - Edgar Winter, Pat Benatar. I even played drums behind Andy Kaufman doing his Elvis routine. This club had more of a vibe than anything else. Anyway, it was a steady gig (five years). In that time I explored my own ideas and met a lot of musicians. One became a close friend - a tenor player Mac Goldsberry. He introduced me to a lot of the New York City players even though he was from Texas. Through him I played and recorded with Ed Schuller, Herb Robertson and Charlie Elgart (a commercial FM sounding jazz). I started to write music at that time. I made a recording with John Hart on guitar. At the same time I hooked up with (through Goldsberry) the singer, writer, jazz musician and poet Bob Lennox and his son Adam. Through Adam I first met Liebman. We did a record and gig doing this progressive rock thing. At this time also I also did a recording with Anthony Jackson, the legendary electric bass player. I also started to play more free jazz at this time. But things in New York for me weren't really going well. I broke up with my first wife and was feeling kind of dark. I was really going through a lot. There was a lot more going on than I could write about. You dig? I met some musicians from the University of Miami (Mike Gillis, legendary guitar player and great guy) and went to Japan for a few months with them. On coming back to the U.S. one of the teachers from the University said why don't you come to Miami - maybe we could hook you up with a teaching gig there. Then I thought, well okay, what else is there to do. I went to the International Jazz Educators Seminar at the University to check it out - see if I could get a gig. Anyway, at one of the parties that night I met Liebman, and he said to me 'What are you doing here?' I said maybe I can get a gig teaching here. Then he said forget that - go to Berlin where some of your mates went to live and play jazz (Lennox, Goldsberry). Liebman said that I needed to get out of NYC to see myself. He said if you were born there you needed to get out to feel yourself - New York is such an intense city (that was 1990). Anyway, I decided to got to Berlin - I had some money from that gig in Japan and borrowed some money from my Japanese girlfriend (Naomi) and sold my grandfather's vintage guitar (I got ripped off) and went off to Berlin.

I moved to Berlin in 1991. It was great. The Berlin Wall had recently come down and there was a good feeling in the air. I started to do more of the music I wanted to do (jazz). This city had a very free feeling. I started to work with Alex von Schlippenbach and his wife Aki Takase, and Gerd Dudek. I had an opportunity to hang and play with Reggie Workman on a Schlippenbach gig and was very honoured that he seemed to like me. I was learning more about the European free improv scene. At the same time I worked with the late legendary bass player Jay Oliver who influenced me in some rhythmic concepts and attitude. I was also privileged to work with the late gypsey guitarist Costa Lucas. My rhythmic concepts really took a turn when I worked with Hans Hartman (bass and stick player) and Turkish percussionist Mesut Ali - these guys could really play in different time signatures. At this time I was really understanding a different sort of sound.

I lived in Berlin until 1995. I felt a longing for some familiarity at this point (the English language). I returned to New York for a few months, then joined my wife (who I met in Berlin) in London. We had enough money for one month's rent and a phone. I had to borrow my first drum set, but somehow met some of the guys. I met Loz Speyer (great guy) who got me a drum set and he introduced me to a lot of the straighter players. I also met Alex McGuire who introduced me to Elton Dean, from where I met the rest of the free scene. I met Paul Dunmall and we played and recorded some great music together. I also made some great music and recordings with Elton. I started to complete some of the ideas I came up with in Berlin. I came up with a project called Freebeat with Elton Dean and sound engineer, Jon Wilkinson. It was a concept of playing through time signatures but playing also free through it. It never materialised as a label-released record but it inspired a lot of ideas. These ideas interested Dave Liebman. I recorded a similar but different project with him in Berlin (2003). These ideas and projects were never released either but I am working on it.

The CD 'In a Western Sense' handles some of these same concepts. I think that time signatures are a way of defining phrasing. My music really doesn't watch the time signature as much as the phrasing. Through beats (a drum thing) you can keep a pulse but have no number on the pulse. It's not in 1-1. That's impossible, since the phrasing has to be in one and it's not. It is actually many different time signatures but one pulse. I could explain this in more detail but not on a website bio. Anyway, this concept influenced practically all my musical ideas. Time and no time were brought together. Liebman told me I came into the world to do this. Who knows. The thing is that my improvised and free music seems to have this pulse in it. It is done quite unconsciously on some level (I think it was to do with my studies or working out these concepts) and on another level quite deliberate. I do have a method. Sometimes great complexity is held together by great simplicity. Anyway, I moved to London in 1996 - it's been good and bad - what hasn't? It's been a hard place for me to meet people but I did get some records out. I played and recorded with Paul Dunmall, Elton Dean, Simon Picard, Paul Rutherford, Keith Tippett, Paul Rogers, Marcio Matthos and John Edwards. Some great music was played.

I was also very fortunate to meet the band that played 'In a Western Sense' - Zoe Rahman, Carlos Lopez-Real and Oli Hayhurst. I have (probably because I am an American) the need to combine the sounds of straight and free jazz. It is part of my instinct. Like many other musicians at this time. It seems to be what is happening. Reason and chaos, chaos and reason. Maybe it resolves in peace."-Tony Bianco

-Tony Bianco Website (http://www.tonybianco.f9.co.uk/biog.htm)
10/2/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



1. Track 01 13:27

2. Track 02 8:42

3. Track 03 7:12

4. Track 04 13:27

5. Track 05 10:07

6. Track 06 7:21

7. Track 07 7:37

Related Categories of Interest:


Improvised Music
Jazz
London & UK Improv & Related Scenes
Staff Picks & Recommended Items
FMR Records
Trio Recordings

Search for other titles on the label:
FMR.


Recommended & Related Releases:
Sentient Beings (O'Gallagher / Brackenbury / Pope / Bianco)
Truth Is Not The Enemy
(Discus)
Four singular improvisors from the US and UK -- Faith Heleene Brackenbury on violin, John O'Gallagher on alto sax, Anthony Bianco on drums, and John Pope on bass -- are heard in this live performance of spiritually rich, intellectually deep and powerfully articulate collective free jazz, captured live in 2024 at The Vortex, in London, UK in two extended conversations.
Jurd, Laura / Paul Dunmall
Fanfares And Freedom
(Discus)
Paul Dunmall brings his quartet of Liam Noble (piano), Caius Williams (bass) and Miles Levi (drums) together with Laura Jurd's brass quintet of Jurd (trumpet), Chris Batchelor (trumpet), Alex Paxton (trombone), Raphael Clarkson (trombone) and Oren Marshall (tuba) for a live performance at The Vortex in London, written by Jurd as a commission from the Cheltenham Jazz Festival.
Dunmall, Paul / Paul Rogers / Tony Levin
The Good Feelings
(577 Records)
A first time issue for these 2009 studio recordings between Paul Dunmall on tenor & soprano saxophones and bass & b-flat clarinets, Paul Rogers on 7 string acoustic bass and Tony Levin on drums, bringing to light both a great trio session that's sat on the shelf too long, and a superb example of the late great drummer Tony Levin's important contribution to UK free improv.
Dunmall, Paul / Tobias Delius / Olie Brice / Mark Sanders
No Better Than The Butcher Bird
(Listen! Foundation (Fundacja Sluchaj!))
With two reeds--Paul Dunmall on tenor & soprano saxophones & clarinet, and tenor saxophonist & clarinetist Tobias Delius--and the masterful rhythm section of Olie Brice on double bass and Mark Sanders on drums, this superb collective quartet leverages the long relationships between players, particularly the trio of Sanders/Brice/Delius and Dunmall & Sanders' extensive work together.
Dean, Elton (w/ Dunmall / Watts / Rogers / Levin)
Elton Dean's Unlimited Saxophone Company
(Ogun)
Elton Dean's 1989 performance at the Covent Garden Jazz Saxophone Festival in London is reissued, bringing to light the powerful performance from saxophonists Dean on alto sax & saxello, Paul Dunmall on tenor & baritone saxophones, Trevor Watts on alto saxophone, Simon Pickard on tenor saxophone, plus the rhythm section of Paul Rogers on double bass and Tony Levin on drums.
Dunmall, Paul / Paul Rogers / Marc Sanders
Wildlife
(Listen! Foundation (Fundacja Sluchaj!))
A wildly explorative and masterful studio encounter for three of the UK's most well-known and well-recorded improvisers--Paul Dunmall on tenor & soprano saxophones, clarinet & flute; Paul Rogers on 7-string double bass; and Mark Sanders on drums--in four collective improvisations that run the gamut from explosive to introspective conversation; ferocious!
Quintans / Rogers / Lopez
Future Folk
(Creative Sources)
With artwork gracing the cover from percussionist Ramón López as part of his Jazz Paintings series, the trio of López, double bassist Paul Rogers and electric guitarist Santiago Quintans are heard in eleven succinct, highly interactive and energetic collective improvisations of dexterous interweaving and confident conversation.
Dunmall / Brackenbury / Brice / Bianco
Prema
(FMR)
Part of a series at Birmingham, UK's East Jazz Club by saxophonist Paul Dunmall with some of the UK's finest improvisers, here in a quartet of two string players—Olie Brice on bass and Faith Brackenbury on violin—plus long-time collaborator Tony Bianco on drums, the title Prema referring to divine love or higher love, as heard in this tremendous, extended performances.
Dunmalll, Paul (Dunmall / Kinch / Cole / Mwamba / Kane / Drake)
Bright Light A Joyous Celebration
(Discus)
Recalling his Sun Quartet album, UK saxophonist Paul Dunmall's new sextet pivots off the jubilant rhythm section of drummer Hamid Drake, double bassist Dave Kane and vibraphonist Corey Mwamba, with three saxophonists--Dunmall on tenor & c-soprano saxophones, Xhosa Cole on tenor and Soweto Kinch on alto & tenor saxophones--in a truly joyful bright celebration of free flowing jazz.
Dunmall, Paul
Meditations For Clarinets
(FMR)
Known best for his extraordinary saxophone playing, UK reedist and wind player Paul Dunmall also is a first-rate clarinetist, one of the most challenging of the single reed instruments, heard here in four extended improvisations captured in the studio, performing with contemplative thoughtfulness and prodigious technique on four members of the clarinet family: C, A, Eb and Bb.
Dunmall, Paul / Olie Brice
The Laughing Stone
(Confront)
Taking their song titles from Basil Bunting's 1966 poem "Briggflatts", a mixed freeverse work with a changing rhyme scheme that is noted for its use of sound through word play to move its listeners, an apt analogy to the masterful and sophisticated dialog between double bassist Olie Brice and multi-reedist Paul Dunmall, Dunmall performing on alto & tenor saxophones, flute & clarinet.
Dunmall, Paul Quartet
World Without
(577 Records)
Seeking to organize a group of musicians driven by an underlying pulse and a central energy, going beyond the abstract improvisations he has been familiar with for years, saxophonist Paul Dunmall assembled Steven Saunders on guitar, Dave Kane on bass and Miles Levin on drums, achieving these impressive improvisations, captured in the studio in Birmingham.
Dunmall, Paul Ensemble
It's A Matter Of Fact
(Discus)
Following his previous Discus release Yes Tomorrow, UK saxophonist and composer Paul Dunmall expands his quintet to a septet with legendary vocalist Julie Tippetts and trumpeter Charlotte Keefe joining the exemplary ensemble of Martin Archer on sax, Richard Foote on trombone, Steven Saunders on electric guitar, James Owston on double bass and Jim Bashford on drums.
Dunmall, Paul / Liam Noble / John Edwards / Mark Sanders
One Moment
(FMR)
Some of the finest London and Birmingham improvisers, the free improvising quartet of saxophonist Paul Dunmall with pianist Liam Noble, drummer Mark Sanders and bassist John Edwards, continue their work together with this exceptional live performance at the Eastside Jazz Club, Birmingham Conservatoire in an extended, far-ranging and engaging collective concert.
Dunmall, Paul / Phillip Gibbs / Andrew Ball / Neil Metcalfe / Hilary Jeffery
Newsagents
(FMR)
Reissuing the limited 2003 release on saxophonist Paul Dunmall's DUNS label, this wonderfully sophisticated concert at Victoria Rooms in Bristols featured collaborators and jazz luminaries Philip Gibbs on guitar, Neil Metcalfe on flute, Andrew Ball on piano & celesta and Hilary Jeffrey on trombone, a quintet of tempered intensity and incredibly expressive power.
Dunmall, Paul Quintet (w / Saunders / Foote / Owston / Bashford)
Yes Tomorrow
(Discus)
An exhilarating departure from saxophonist Paul Dunmall's Coltrane-esque approach to free improvisation with this electrified quintet of Steven Saunders on guitar, Richard Foote on trombone, James Owston on bass and Jim Bashford on drums, playing with upbeat urgency through a set of Dunmall compositions, often letting Saunder's riffs take the foreground around a first-rate set of solos.
Dunmall, Paul / Paul Rogers / Tony Orrell
That's My Life
(577 Records)
A prime example of the early Bristol, UK jazz scene and saxophonist Paul Dunmall's association with it, this trio born out of the band Spirit Level where Dunmall and drummer Tony Orrell first worked, and double bassist Paul Rogers with whom Dunmall would go on to work in Mujician, here in two live recording with Dunmall on soprano and in a burning Coltrane mode; exceptional!
Dunmall, Paul / James Owson / Taymotusz Joziwiak
This Time In Beautiful Space
(FMR)
Performing on tenor, alto and C-melody saxophones plus alto flute, Paul Dunmall's trio brings together drummer Taymotusz Joziwiak (heard on One Became Many, Unmasked and Awoto) and younger generation bassist James Owswon, for an album of expressive and lyrical free jazz, a well-paced example of tempered collective interplay highlighting all three musicians.
Tippett, Keith / Julie Tippetts / Philip Gibbs / Paul Dunmall
Mahogany Rain
(577 Records)
Originally recorded in 2005 for a small 100-copy release, the single extended track on Mahogany Rain offers an hour of mesmerizing improvisational sound, sparsely composed and deeply experimental and performed by Keith Tippett on piano & percussion, Julie Tippetts on xylophone & voice, Philip Gibbs on guitars, and Paul Dunmall on soprano & tenor saxophones.
Dunmall, Paul / Simon Thoumire / John Edwards / Phillip Gibbs
Brothers In Music
(FMR)
2021 reissue of this 2004 release on the DUNS label bringing together a uniquely voiced quartet with Paul Dunmall on tenor & soprano saxophones, virtuoso concertina player Simon Thoumire, John Edwards on double bass and Philip Gibbs on guitar, with both Dunmall & Thoumire performing on bagpipes on two tracks; a welcome reissue to a distinctive and thought-provoking album.
Dunmall, Paul / Jonathan Impett / Andrew Ball / Paul Rogers / Phillip Gibbs
Undistracted
(FMR)
A 2004 quintet recording from Victoria Rooms in Bristol with the core of long-time collaborators Paul Dunmall on tenor sax, Paul Rogers on bass and Philip Gibbs, performing with two improvisers also well known for their work in compositional forms--Jonathan Impett on trumpet and Andrew Ball on piano--bringing unique perspectives to their far-ranging, advanced improvisation.
Dunmall, Paul / Mark Sanders
Unity
(577 Records)
Despite countless collaborations in a variety of settings, UK saxophonist Paul Dunmall and drummer/percussionist Mark Sanders have never recorded one of the most straight-forward of pairings — the saxophone and drum duo — correcting their omission with his superb album of exploratory and exuberant dialogs, five tracks showing the skill and kinship between the two.
Dunmall, Paul / Keith Tippett / Philip Gibbs / Pete Fairclough
Onosante
(577 Records)
A 4-track collective improvisation project performed by Paul Dunmall (saxophones, fife & bagpipes), pianist Keith Tippett, guitarist Philip Gibbs and drummer Pete Fairclough, recorded at Victoria Rooms at the University of Bristol, UK in 2000 and originally issued on Dunmall's own DUNS label, here reissued 20 years later in the memory of Keith Tippett.
Dunmall, Paul / Percy Pursglove / Olie Brice / Jeff Williams
Palindromes
(West Hill Records)
Capturing their 2nd gig together, double bassist Olie Brice and trumpeter Percy Pursglove invited two prominent improvisers who had never played together before — drummer Jeff Williams and tenor saxophonist Paul Dunmall — to join them for a 2020 concert at Cafe Oto in London, presented into two palindromic-ally named and profound improvisations: "Tattarratta" 1 & 2.
Dunmal, Paul Sextet (Dunmall / Pursglove / Foote / Saunders / Owston / Bashford)
Cosmic Dream Projection
(FMR)
A studio project led by Paul Dumall on alto & tenor saxophones and alto flute, recorded while on touring hiatus during the pandemic, composing six passionate and melodically charged works performed by the brilliant sextet of Percy Pursglove on trumpet, Richard Foote on trombone, Steven Saunders on guitar, James Owston on bass, and Jim Bashford on drums.
Dunmall, Paul with Metcalfe / Owston / Jozwiak
Unmasked
(FMR)
The other side of Paul Dunmall's characteristic saxophone work is heard here on the alto flute, bringing Dunmall together with fellow flutist Neil Metcalf and the rhythm section of James Owston on bass and Tymek Jozwiak on drums for four exceptional improvisations that focus more on interaction and less on soloing, showcasing all four through sophisticated performance.



The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC