Live recordings of this NY duo and 2/3 of Trio X from the Suoni Per Il Popolo Festival in Montreal, Canada in 2006 playing original collaborative work.
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Catalog ID: 5003
Squidco Product Code: 9280
Packaging: Jewel Tray
Recorded June 14, 2006 at Casa del Popolo, Montreal, Canada by Marc D. Rusch.
Joe McPhee-alto saxophone
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• Show Bio for Joe McPhee
"Joe McPhee, born November 3,1939 in Miami, Florida, USA, is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He began playing the trumpet at age eight, taught by his father, himself a trumpet player. He continued on that instrument through his formative school years and later in a U.S. Army band stationed in Germany, at which time he was introduced to performing traditional jazz. Clifford Thornton's Freedom and Unity, released in 1969 on the Third World label, is the first recording on which he appears as a side man. In 1968, inspired by the music of Albert Ayler, he took up the saxophone and began an active involvement in both acoustic and electronic music.
His first recordings as leader appeared on the CJ Records label, founded in 1969 by painter Craig Johnson. These include Underground Railroad by the Joe McPhee Quartet (1969), Nation Time (1970), Trinity (1971) and Pieces of Light (1974). In 1975, Swiss entrepreneur Werner X. Uehlinger release Black Magic Man by McPhee, on what was to become Hat Hut Records.
In 1981, he met composer, accordionist, performer, and educator Pauline Oliveros, whose theories of "deep listening" strengthened his interests in extended instrumental and electronic techniques. he also discovered Edward de Bono's book Lateral Thinking: A Textbook of Creativity, which presents concepts for solving problems by "disrupting an apparent sequence and arriving at the solution from another angle." de Bono's theories inspired McPhee to apply this "sideways thinking" to his own work in creative improvisation, resulting in the concept of "Po Music." McPhee describes "Po Music" as a "process of provocation" (Po is a language indicator to show that provocation is being used) to "move from one fixed set of ideas in an attempt to discover new ones." He concludes, "It is a Positive, Possible, Poetic Hypothesis." The results of this application of Po principles to creative improvisation can be heard on several Hat Art recordings, including Topology, Linear B, and Oleo & a Future Retrospective.
In 1997, McPhee discovered two like-minded improvisers in bassist Dominic Duval and drummer Jay Rosen. The trio premiered at the Vision Jazz Festival in 1998 but the concert went unnoticed by the press. McPhee, Duval, and Rosen therefore decided that an apt title for the group would be Trio X. In 2004 he created Survival Unit III with Fred Lonberg-Holm and Michael Zerang to expand his musical horizons and with a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections while reaching for music's outer limits."-Joe McPhee Website (http://joemcphee.com/bio.html)
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1. Escape from the Shadows 25:09
2. Freedom to Choose 9:32
3. [listen] More Violets 1:29
4. The Open Door 11:12
5. Rainbow Crossing 6:45
6. A Poetic Resonance 8:32
7. Variations on God Bless the Child 8:12
descriptions, reviews, &c.
"In 1998, Joe McPhee and Dominic Duval recorded The Dream Book, a tribute to Ornette Coleman which had its genesis 20 years prior to that release in Joe's recording of "Old Eyes" (Hat Hut).
For these sets, Joe made the conscious decision to play only alto sax, an instrument that offers a new perspective for both the artist and the listener and which-Joe told me before the performance-forces him to readdress his ideas due to the obvious constraints.
This concert was part of the Suoni Per Il Popolo Festival, which, commencing in 2000, has run each June in Montreal, Que., Canada.
Clear skies, warm weather, and a full room were the conditions when, at about 9:30 p.m., Joe made the introductions (amid the burr of the air conditioner, opening of cans of effervescence, crash of ice in glasses, the occasional street noise) to a remarkably quiet and attentive audience.
This concert (which preceded by a day a Trio-X presentation [#5001]) had two halves. For the purposes of this CD program, I have taken the parts and programmed the music as a seamless whole to affect a single uninterrupted concert as I felt the material lent itself to an uninterrupted listen. For the interested, the intermission fell between tracks 3 and 4 and for the most part I have eliminated the announcements and extraneous stage chatter and tune-ups.
There's always more apprehension with a duo concert as it is perhaps the hardest situation to reach a creative and emotive compatibility. And I think the opening of the concert reflects a cautious sobriety on the parts of Dominic and Joe, even though they have played together for years. As you listen tothe concert it's clear the connections are in place and the muse is allowed to follow its inspiration."-CIMP
NY Downtown & Jazz/Improv
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