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Bailey, Derek & Company: Klinker [2 CDs] (Confront)

Derek Bailey's Company in recordings from 2000 at The Klinker in London, with four performers--Bailey on guitar, Simon H. Fell on double bass, Mark Wastell on violincello, and Will Gaines tap dancing--the concert presenting various permutations of these musicians improvising, with narrations from Bailey, Fell, Wastell and Gaines punctuating the recordings.
 

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product information:


Label: Confront
Catalog ID: core 04
Squidco Product Code: 25457

Format: 2 CDs
Condition: New
Released: 2018
Country: UK
Packaging: Cardboard Gatefold 3 Panels
Recorded live at The Klinker, London on Thursday 24th August 2000


Personnel:

Derek Bailey-guitar

Simon H. Fell-double bass

Will Gaines-tap dance

Mark Wastell-violincello

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Artist Biographies:

"Derek Bailey (29 January 1930 - 25 December 2005) was an English avant-garde guitarist and leading figure in the free improvisation movement.

Bailey was born in Sheffield, England. A third-generation musician, he began playing the guitar at the age of ten, initially studying music with his teacher and Sheffield City organist C. H. C. Biltcliffe, an experience that he did not enjoy, and guitar with his uncle George Wing and John Duarte. As an adult he worked as a guitarist and session musician in clubs, radio, dance hall bands, and so on, playing with many performers including Morecambe and Wise, Gracie Fields, Bob Monkhouse and Kathy Kirby, and on television programs such as Opportunity Knocks. Bailey's earliest foray into 'what could be called free improvised music' was in 1953 with two other guitarists in their shared flat in Glasgow. He was also part of a Sheffield-based trio founded in 1963 with Tony Oxley and Gavin Bryars called "Joseph Holbrooke" (named after the composer, whose work they never actually played). Although originally performing relatively "conventional" modal, harmonic jazz this group became increasingly free in direction.

Bailey moved to London in 1966, frequenting the Little Theatre Club run by drummer John Stevens. Here he met many other like-minded musicians, such as saxophonist Evan Parker, trumpet player Kenny Wheeler and double bass player Dave Holland. These players often collaborated under the umbrella name of the Spontaneous Music Ensemble, recording the seminal album Karyobin for Island Records in 1968. In this year Bailey also formed the Music Improvisation Company with Parker, percussionist Jamie Muir and Hugh Davies on homemade electronics, a project that continued until 1971. He was also a member of the Jazz Composer's Orchestra and Iskra 1903, a trio with double-bass player Barry Guy and tromboneist Paul Rutherford that was named after a newspaper published by the Russian revolutionary Vladimir Lenin.

In 1970, Bailey founded the record label Incus with Tony Oxley, Evan Parker and Michael Walters. It proved influential as the first musician-owned independent label in the UK. Oxley and Walters left early on; Parker and Bailey continued as co-directors until the mid-1980s, when friction between the men led to Parker's departure. Bailey continued the label with his partner Karen Brookman until his death in 2005[citation needed].

Along with a number of other musicians, Bailey was a co-founder of Musics magazine in 1975. This was described as "an impromental experivisation arts magazine" and circulated through a network of like-minded record shops, arguably becoming one of the most significant jazz publications of the second half of the 1970s, and instrumental in the foundation of the London Musicians Collective.

1976 saw Bailey instigate Company, an ever-changing collection of like-minded improvisors, which at various times has included Anthony Braxton, Tristan Honsinger, Misha Mengelberg, Lol Coxhill, Fred Frith, Steve Beresford, Steve Lacy, Johnny Dyani, Leo Smith, Han Bennink, Eugene Chadbourne, Henry Kaiser, John Zorn, Buckethead and many others. Company Week, an annual week-long free improvisational festival organised by Bailey, ran until 1994.

In 1980, he wrote the book Improvisation: Its Nature and Practice. This was adapted by UK's Channel 4 into a four-part TV series in the early '90s, edited and narrated by Bailey.

Bailey died in London on Christmas Day, 2005. He had been suffering from motor neurone disease."

-Wikipedia (https://en.wikipedia.org/wiki/Derek_Bailey_(guitarist))
12/12/2018

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

Simon H. Fell (b. Dewsbury, Yorkshire, 13 January 1959) is a bassist and composer; he is primarily known for his work as a free improviser and the composer of ambitiously complex post-serialist works.

Fell began playing double bass in 1973. From 1978 to 1981 he read English Literature at Fitzwilliam College of Cambridge University,[1] an interest that led to ties to many of the poets associated with the Cambridge scene (a later work, Music for 10(0), involves settings of texts by the poet/music journalist/provocateur Ben Watson).

Fell's most notable early group was a group with drummer Paul Hession and saxophonist Alan Wilkinson, a free-jazz trio that was exceedingly fast and furious even by the standards of that genre. Their work was primarily released as cassettes and CDs on Fell's label Bruce's Fingers, including Bogey's and the group's only studio album, foom! foom! Their most sonically extreme statement, however, was the grainily recorded The Horrors of Darmstadt (Shock). (Its title is a sarcastic quotation from a BBC announcer concerning the avant-garde Darmstadt School of composers.)

Other groups in which Fell is or was a member include the free jazz trio Badland (led by saxophonist Simon Rose; initially the drummer was Mark Sanders, with Steve Noble subsequently taking over the role), the improvising string+percussion ensemble ZFP (with Carlos Zingaro, Marcio Mattos and Mark Sanders), and SFQ, a quartet/quintet with changing membership, though clarinettist Alex Ward has been a constant. (Fell's 2001 version of his 70-minute SFQ composition Thirteen Rectangles was broadcast twice by the BBC and subsequently nominated for the 'new work' award in the 2002 BBC Jazz Awards.) In sharp contrast to the uproar of Hession/Wilkinson/Fell, the trio IST (with Rhodri Davies and Mark Wastell) was one of the seminal groups in the development of the ultra-quiet aesthetic now generally called "EAI" or "electroacoustic improvisation". Fell has also performed in many other ensembles, including the London Improvisers Orchestra and Derek Bailey's Company Week.

Fell's major sequence of compositions is titled Compilation (to date, four such projects have been issued). Despite the governing title, these are not collections of previous material but new, large-scale works. The musical language makes overt use of serialist procedures (such as tone rows, retrograde structures, &c), as well as many other techniques: extensive studio layering, overdubbing and reordering of material (so that seemingly "live" performances may be the result of carefully edited-together improvisations and/or notated material), and use of aleatoric techniques to "degrade" or distort precomposed structures into new shapes. Free improvisation, rock and jazz all form key parts of the musical language; one section of Compilation IV even includes a simultaneous hommage to Karlheinz Stockhausen and Henry Mancini. The cast of musicians drawn on for these pieces usually includes a mix of classically trained players, jazzers and free improvising musicians, as well as wild cards like the noise guitarist Stefan Jaworzyn. While virtuoso players such as Evan Parker and John Butcher are essential to the projects, Fell often deliberately makes use of amateur or student musicians, too, not as a makeshift but as an intentionally democratizing and less predictable element.

Other large-scale composition projects include:

• his compositions for The London Improvisers' Orchestra (Papers, Happy Families, Kšln Klang, Ellington 100 (Strayhorn 85), Morton's Mobile, Too Busy and Three Mondrians) (1998-2004)
• Kaleidozyklen, a 60-minute piece for improvising double bassist and orchestra (2000)
• Thirteen New Inventions, a major solo piano piece commissioned by Philip Thomas (2005)
• the concert-length BBC Radio 3 commission, Positions & Descriptions (for 18 musicians & prerecorded materials), premiered at the Huddersfield Contemporary Music Festival (2007)
• a 1-hour suite for sextet, The Ragging Of Time, commissioned by the Marsden Jazz Festival (2014)
-Wikipedia (https://en.wikipedia.org/wiki/Simon_Fell)
12/12/2018

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

Dates: 1928-2014
Birth Date: Apr 5, 1928
Death Date: May 7, 2014

Place of Birth: Baltimore, MD
Place of Death: London. England

Will Gaines bebop rhythm tap dancer who became an international ambassador to tap, was born in Baltimore, Maryland and raised in Detroit, Michigan. At the age of twenty, he saw the Duke Ellington and Count Basie orchestras, master swing orchestra, but was most impressed with the new bebop style of Dizzy Gillespie. Upon seeing the young bebop rhythm tap virtuoso Teddy Hale dance, he dedicated himself to performing in the improvisational bebop style of rhythm tap. In the 1950s Gaines worked with such jazz greats as Lucky Thompson, Kenny Burrell, Tommy Flanagan, and Sonny Stitt at New York's Apollo Theatre. In 1957 he joined Cab Calloway's orchestra and Martha Ray's Night Club in Miami, and also danced in Las Vegas and Washington, D.C. for President Dwight D. Eisenhower. He became a well-respected and expensive opening act commanding $500 a night, which was quite a step up from the $65 a week he earned when he started. On the road again, he opened at the 500 Club in Atlantic City, and went on to Toronto, Canada and Buffalo, New York.

He arrived in London in July of 1963, appearing at the Pigille and Ronnie Scott's clubs, and in 1964 at the Palladium with Norman Vaughan, Tommy Cooper, and the Jack Parnell Orchestra. He appeared at Royal Festival Hall as well as in festivals in Glasgow, Edinburgh, Bracknell, and Birmingham. Like jazz tap dancer and choreographer Clarence "Buddy" Bradley who migrated to London in the 1930s, Gaines decided to make London his home, appearing at numerous venues, from concerts halls to countless street appearances alongside major names of British jazz, as well as many from the classical musical world. He was the first American jazz hoofer to perform at the Royal Opera House in Covent Garden.

In 1983, Gaines appeared in the televised broadcast Masters of Tap with tap maestros Charles Honi Coles and Chuck Green, which was recorded at London's Riverside Studios. In 2005, at the age of nearly eighty, Gaines was a featured veteran performer in Cross Currents: Turned On Tap at the Queen Elizabeth Hall at South Bank Centre in London, in which he performed with English, Irish, and American tap dancers, and received superb critical reviews for his life-long career as a rhythm tap dancer. Gaines continues to live in London, where for over four decades he has taught and performed, and is regarded as one of America's ambassadors of jazz tap dance."

-Library of Congress (http://memory.loc.gov/diglib/ihas/loc.music.tdabio.95/default.html)
12/12/2018

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"Mark Wastell Born 1968; cello.

Much of Mark Wastell's relationship with his chosen instrument is concentrated on the tactile, textural and sonic possibilities of both violoncello and bow. He is increasingly interested in working with extreme elements drawn from frequency, timbre and pitch.

His early activity was consciously and subconsciously influenced by a variety of improvising musicians including John Stevens, Barry Guy, Phil Durrant and John Russell. Subsequent exposure to contemporary composers lead to a greater understanding and appreciation of the works written for strings by Feldman, Cage, Nono, Lachenmann and Sciarrino. The use of live electronics and music concrete by Tudor, Parmegiani, Xenakis and others was another important early influence.

Wastell's current instrumental material primarily focuses on using abstract principles of space and texture - encompassing elements of new London silence, pro-instrument minimalism, new complexity and electro-acoustics. Because of the very nature of his chosen instrument, he tends to favour 'chamber' style ensembles and is a member of a number of regular groups:

• Chris Burn's Ensemble, with John Butcher, Rhodri Davies, John Russell, Matt Hutchinson

• Derek Bailey's Company - with, for example, Will Gaines, Simon H. Fell and Rhodri Davies

• Evan Parker's String Project, with Peter Cusack, Hugh Davies, Rhodri Davies, Phil Durrant, John Edwards, Kaffe Matthews, Marcio Mattos, John Russell

• Assumed possibilities, with Chris Burn, Rhodri Davies and Phil Durrant

• The Sealed Knot, with Burkhard Beins and Rhodri Davies

• Necessaire with Alessandro Bosetti, Ignaz Schick and Burkhard Beins

• IST with Simon Fell and Rhodri Davies

• Quatuor Accorde with Tony Wren, Phil Durrant and Charlotte Hug

• Broken Concort, a duo with Rhodri Davies

Mark Wastell has also performed with many other leading musicians including John Zorn, Keith Rowe, Peter Kowald, Hugh Davies, Roger Turner, Veryan Weston, Lol Coxhill, Mark Sanders, Axel Dorner, Hans Koch, Phil Minton, Max Eastley and Steve Beresford.

As a soloist he has played at the Micro-classical Festival (London 1996), LMC Festival (London 2000) and the Huddersfield Contemporary Music Festival (2000). He has travelled extensively with various groups, performing on tour and at festivals in the USA, France, Spain, Italy, Germany, Sweden, Denmark and Greece. Other work includes the launch in 1996 of his own record label, Confront Recordings. Wastell is also joint co-ordinator of the concert venue All Angels, together with Rhodri Davies."

-European Free Improv (EFI) (http://www.efi.group.shef.ac.uk/musician/mwastell.html)
12/12/2018

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track listing:


CD1



1. intro; DB / SF / MW I 12:14

2. DB / SF / MW 2 5:12

3. an announcement; DB / WG I 7:25

4. DB / WG 2 4:15

5. you hsould see me when I'm making money; DB / WG 3 5:37

6. SF / MW 10:00

7. DB / SF / WG / MW I 8:48

CD2



1. WG / MW 13:06

2. DB / SF I 10:50

3. DB / SF 2 7:54

4. DB / SF / WG / MW 2; outro 14:09

sample the album:








descriptions, reviews, &c.

"This recording is more than just a document of a musical performance, it is a time capsule which magically allows the listener to travel back in time and space. But this is not simply a question of a date on a calendar or a point on a map; Klinker gives us a second chance (or for some, a first chance) to luxuriate in an atmosphere, a performance environment and a specific combination of musicians which we will never be able to experience again.

The most obvious and immediate thing that this recording brings back is the living, human presence of Derek and Will. In publishing the entire performance from start to finish, this Confront release allows us to experience these much-missed artists at work with a degree of intimacy and familiarity absent from (for example) prestigious festival performances. Of course, any new addition to the Bailey discography is an exciting development, but I feel I must also mention just how well Will Gaines plays (and yes, I use that term deliberately) on this gig. For those who might be unsure why Derek was always so happy to play with Will, listen to how Will uses his strongly idiosyncratic technique with invention, flexibility and imperturbability in the Company context. Similarly, hearing Bailey and Gaines exchange one-liners reminds me just how strongly Derek's early career in light entertainment imprinted his ideas about musical practice and performance ethics; with his combination of show business schmaltz and improvisational acuity Will was a marvelous foil for Derek. Listen to Will, having dangerously skirted raconteur territory in his solo introduction to WG / MW, suddenly getting serious and creative when Mark decides to join him. But most of all, listen to the constantly re-inventing interaction between these four relaxed performers, one distant Thursday night in De Beauvoir Town.

For this recording is also a tribute to the London Improvised Music Club scene of the late 20th century. During the 1990s I played extremely regularly in clubs such as The Klinker, sometimes as often as three or four times a week; the idea of playing frequently in low-pressure situations, with an ever-changing roster of colleagues, was the very essence of improvised music for many musicians of my generation. For all kinds of reasons, Improvised Music in London no longer has the luxury of a seemingly never-ending supply of informal musician-run clubs. So, enjoy this marvelous opportunity to join us in the hot, sweaty, noisy, beery atmosphere of The Klinker Club in August 2000. But perhaps you were actually there at the time....."-Simon H. Fell, January 2018



"One of the special qualities of improvisation is the array of responses musicians and performers have to the environment they find themselves in. The club, as you can hear immediately from the opening announcements, was in quite a small space, in a back room. It had kitsch disco mirrors all along the walls and a hard floor and ceiling, everything sonically enhancing and reflective, so the room was actually even smaller than it sounds. Tim used to arrive early every night to set up his recording equipment and tape the leads to the floor to stop people tripping on them and dragging everything across the room. At one point he was experimenting with pointing a microphone towards the ceiling to capture a more evenly balanced and diffused sound. A kind of reverse Dizzy Gillespie approach.

I didn't expect to hear the kinds of sounds that emerged on that night from the band, far less angular, rough, or confrontational, instead it was introspective and elegant, carefree and humorous, delicate and fragile. The audience was crammed in tight, there wasn't much room to move about, but everyone was absolutely attentive and quiet and really seemed to be enjoying it, seizing the opportunity to express it whenever they were given a chance in the gaps. Unanimously in love with Will, his patter, and his spanner in the works of any possible attempt at over seriousness.

This was the only occasion that Derek Bailey's Company graced our humble event. Perhaps the acoustic peculiarities of the room, the concentrated focus and proximity of the audience, and the hot summer evening all contributed to the unique result. How fast things change in the small corner of the music scene that the Klinker has been part of over the years. Wonderful to have this treasure from the past. Oh yes, and choc ices."-Matt Scott

Related Categories of Interest:


Jazz
Free Improvisation
London & UK Improv & Related Scenes
Bailey, Derek
Duo Recordings
Trio Recordings
Quartet Recordings
Spoken Word
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Duo [VINYL]
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Bailey, Derek
Lot 74 [VINYL]
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Bailey, Derek
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Spontaneous Music Ensemble
Karyobin (1968) [2017 REISSUE]
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Trembling Shade
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(Confront)
Chadbourne, Eugene
Eddie Chatterbox: The Sound Of Genius
(Chadula)
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IST
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