Recorded in 1981 by audio engineer and label owner Jean-Marc Foussat, the trio of guitarist Derek Bailey, saxophonist Evan Parker, and drummer/multi-instrumentalist Han Bennink are heard in an amazing evening of performance at 28 rue Dunois, in Paris, France, in duo and trio configurations, exploring material similar to Parker's "Topography of the Lungs"; essential.
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Label: Fou Records
Catalog ID: FR-CD34-35-36-37
Squidco Product Code: 27576
Packaging: Box Set - 4 CDS + Booklet
Recorded at 28 rue Dunois, in Paris, France, on April 3rd, 1981, by Jean-Marc Foussat.
Han Bennink-drums, other instruments
Evan Parker-tenor saxophone, soprano saxophone
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• Show Bio for Derek Bailey
"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.
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))
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• Show Bio for Han Bennink
"Drummer and multi-instrumentalist Han Bennink was born in Zaandam near Amsterdam in 1942. His first percussion instrument was a kitchen chair. Later his father, an orchestra percussionist, supplied him with a more conventional outfit, but Han never lost his taste for coaxing sounds from unlikely objects he finds backstage at concerts. He is still very fond of playing chairs.
In Holland in the 1960s, Bennink was quickly recognized as an uncommonly versatile drummer. As a hard swinger in the tradition of his hero Kenny Clarke, he accompanied touring American jazz stars, including Sonny Rollins, Ben Webster, Wes Montgomery, Johnny Griffin, Eric Dolphy and Dexter Gordon. He is heard with Gordon on the 1969 album "Live at Amsterdam Paradiso" (on the Affinity label) and with Dolphy on 1964s "Last Date" (PolyGram). At the same time, Bennink participated in the creation of a European improvised music which began to evolve a new identity, apart from its jazz roots. With fellow Dutch pioneers, pianist Misha Mengelberg and saxophonist Willem Breuker, he founded the musicians collective Instant Composers Pool in 1967. Bennink anchored various bands led by Mengelberg or Breuker, and appeared in their comic music-theater productions.
Bennink attended art school in the 1960s, and is also a successful visual artist in several media, often constructing sculpture from found objects, which may include broken drum heads and sticks. He has designed the covers for many LPs and CDs on which he appears. Bennink is represented by Amsterdam's Galerie Espace, and has been the subject of several one-man shows, including one at the Gemeente Museum in the Hague in 1995.
In 1966, Bennink played the US's Newport Jazz Festival with the Mengelberg quartet. From the late 1960s through the '70s Bennink collaborated frequently with Danish, German, English and Belgian musicians, notably saxophonists John Tchicai and Peter Broetzmann, guitarist Derek Bailey and pianist Fred van Hove. Bennink, Broetzmann and van Hove had a longstanding trio well documented on FMP Records. There Bennink also showcased his talents on clarinet, trombone, soprano saxophone and many other instruments, also featured in a series of solo albums he began in 1971.
Bennink's many recordings from the 1980s include sessions with Mengelberg's ICP Orchestra (where he remains), South African bassist Harry Miller, soprano saxophonist Steve Lacy, trombonists Roswell Rudd and George Lewis, and big-bandleaders Sean Bergin and Andy Sheppard.
From 1988 to'98 Bennink's main vehicle was Clusone 3, with saxophonist and clarinetist Michael Moore and cellist Ernst Reijseger, a band noted for its free-wheeling mix of swinging jazz standards, wide-open improvising, and tender ballads. Clusone played Europe and North America, West Africa, China, Vietnam and Australia, and recorded five CDs for Gramavision, hat Art and Ramboy.
Nowadays he is frequently heard with tenor saxophonist Tobias Delius's quartet and in a trio with pianist/keyboardist Cor Fuhler and bassist Wilbert de Joode, and he still collaborates occasionally with jazz luminaries such as Johnny Griffin, Von Freeman and Ray Anderson.
A conspicuous feature of Bennink's musical life since the 1960s is the spontaneous duo concert with musicians of many nationalities and musical inclinations; in the '90s he recorded in duo with among others pianists Mengelberg, Irene Schweizer and Myra Melford, guitarist Eugene Chadbourne, trumpeter Dave Douglas and tenor saxophonist Ellery Eskelin.
Since 2008 Han Bennink has his own Han Bennink Trio consisting of Han Bennink, Joachim Badenhorst on clarinet and Simon Toldam on piano."-Han Bennink Website, Kevin Whitehead (http://www.hanbennink.com/music/biography/biography.php)
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• Show Bio for Evan Parker
"Evan Parker was born in Bristol in 1944 and began to play the saxophone at the age of 14. Initially he played alto and was an admirer of Paul Desmond; by 1960 he had switched to tenor and soprano, following the example of John Coltrane, a major influence who, he would later say, determined "my choice of everything". In 1962 he went to Birmingham University to study botany but a trip to New York, where he heard the Cecil Taylor trio (with Jimmy Lyons and Sunny Murray), prompted a change of mind. What he heard was "music of a strength and intensity to mark me for life ... l came back with my academic ambitions in tatters and a desperate dream of a life playing that kind of music - 'free jazz' they called it then."
Parker stayed in Birmingham for a time, often playing with pianist Howard Riley. In 1966 he moved to London, became a frequent visitor to the Little Theatre Club, centre of the city's emerging free jazz scene, and was soon invited by drummer John Stevens to join the innovative Spontaneous Music Ensemble which was experimenting with new kinds of group improvisation. Parker's first issued recording was SME's 1968 Karyobin, with a line-up of Parker, Stevens, Derek Bailey, Dave Holland and Kenny Wheeler. Parker remained in SME through various fluctuating line-ups - at one point it comprised a duo of Stevens and himself - but the late 1960s also saw him involved in a number of other fruitful associations.
He began a long-standing partnership with guitarist Bailey, with whom he formed the Music Improvisation Company and, in 1970, co-founded Incus Records. (Tony Oxley, in whose sextet Parker was then playing, was a third co-founder; Parker left Incus in the mid-1980s.) Another important connection was with the bassist Peter Kowald who introduced Parker to the German free jazz scene. This led to him playing on Peter Brötzmann's 1968 Machine Gun, Manfred Schoof's 1969 European Echoes and, in 1970, joining pianist Alex von Schlippenbach and percussionist Paul Lovens in the former's trio, of which he is still a member: their recordings include Pakistani Pomade, Three Nails Left, Detto Fra Di Noi, Elf Bagatellen and Physics.
Parker pursued other European links, too, playing in the Pierre Favre Quartet (with Kowald and Swiss pianist Irene Schweizer) and in the Dutch Instant Composers Pool of Misha Mengelberg and Han Bennink. The different approaches to free jazz he encountered proved both a challenging and a rewarding experience. He later recalled that the German musicians favoured a "robust, energy-based thing, not to do with delicacy or detailed listening but to do with a kind of spirit-raising, a shamanistic intensity. And l had to find a way of surviving in the heat of that atmosphere ... But after a while those contexts became more interchangeable and more people were involved in the interactions, so all kinds of hybrid musics came out, all kinds of combinations of styles."
A vital catalyst for these interactions were the large ensembles in which Parker participated in the 1970s: Schlippenbach's Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, Barry Guy's London Jazz Composers Orchestra (LJCO) and occasional big bands led by Kenny Wheeler. In the late 70s Parker also worked for a time in Wheeler's small group, recording Around Six and, in 1980, he formed his own trio with Guy and LJCO percussionist Paul Lytton (with whom he had already been working in a duo for nearly a decade). This group, together with the Schlippenbach trio, remains one of Parker's top musical priorities: their recordings include Tracks, Atlanta, Imaginary Values, Breaths and Heartbeats, The Redwood Sessions and At the Vortex. In 1980, Parker directed an Improvisers Symposium in Pisa and, in 1981, he organised a special project at London's Actual Festival. By the end of the 1980s he had played in most European countries and had made various tours to the USA, Canada, Australia, New Zealand and Japan. ln 1990, following the death of Chris McGregor, he was instrumental in organising various tributes to the pianist and his fellow Blue Notes; these included two discs by the Dedication Orchestra, Spirits Rejoice and lxesa.
Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time. Parker's first solo recordings, made in 1974, were reissued on the Saxophone Solos CD in 1995; more recent examples are Conic Sections and Process and Reality, on the latter of which he does, for the first time, experiment with multi-tracking. Heard alone on stage, few would disagree with writer Steve Lake that "There is, still, nothing else in music - jazz or otherwise - that remotely resembles an Evan Parker solo concert."
While free improvisation has been Parker's main area of activity over the last three decades, he has also found time for other musical pursuits: he has played in 'popular' contexts with Annette Peacock, Scott Walker and the Charlie Watts big band; he has performed notated pieces by Gavin Bryars, Michael Nyman and Frederic Rzewski; he has written knowledgeably about various ethnic musics in Resonance magazine. A relatively new field of interest for Parker is improvising with live electronics, a dialogue he first documented on the 1990 Hall of Mirrors CD with Walter Prati. Later experiments with electronics in the context of larger ensembles have included the Synergetics - Phonomanie III project at Ullrichsberg in 1993 and concerts by the new EP2 (Evan Parker Electronic Project) in Berlin, Nancy and at the 1995 Stockholm Electronic Music Festival where Parker's regular trio improvised with real-time electronics processed by Prati, Marco Vecchi and Phillip Wachsmann. "Each of the acoustic instrumentalists has an electronic 'shadow' who tracks him and feeds a modified version of his output back to the real-time flow of the music."
The late 80s and 90s brought Parker the chance to play with some of his early heroes. He worked with Cecil Taylor in small and large groups, played with Coltrane percussionist Rashied Ali, recorded with Paul Bley: he also played a solo set as support to Ornette Coleman when Skies of America received its UK premiere in 1988. The same period found Parker renewing his acquaintance with American colleagues such as Anthony Braxton, Steve Lacy and George Lewis, with all of whom he had played in the 1970s (often in the context of London's Company festivals). His 1993 duo concert with Braxton moved John Fordham in The Guardian to raptures over "saxophone improvisation of an intensity, virtuosity, drama and balance to tax the memory for comparison".
Parker's 50th birthday in 1994 brought celebratory concerts in several cities, including London, New York and Chicago. The London performance, featuring the Parker and Schlippenbach trios, was issued on a highly-acclaimed two-CD set, while participants at the American concerts included various old friends as well as more recent collaborators in Borah Bergman and Joe Lovano. The NYC radio station WKCR marked the occasion by playing five days of Parker recordings. 1994 also saw the publication of the Evan Parker Discography, compiled by ltalian writer Francesco Martinelli, plus chapters on Parker in books on contemporary musics by John Corbett and Graham Lock.
Parker's future plans involve exploring further possibilities in electronics and the development of his solo music. They also depend to a large degree on continuity of the trios, of the large ensembles, of his more occasional yet still long-standing associations with that pool of musicians to whose work he remains attracted. This attraction, he explained to Coda's Laurence Svirchev, is attributable to "the personal quality of an individual voice". The players to whom he is drawn "have a language which is coherent, that is, you know who the participants are. At the same time, their language is flexible enough that they can make sense of playing with each other ... l like people who can do that, who have an intensity of purpose." "-Evan Parker Website (http://evanparker.com/biography.php)
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1. DB-HB-EP Trio 41:53
2. Db-EP Duet 12:10
1. DB-HB-EP Trio 46:01
2. EP Solo 11:51
1. DB-EP Duet 27:56
2. EP Solo 10:16
3. HB-EP Duet 17:19
1. DB-HB Duet 39:35
2. HB-EP Duet 12:11
sample the album:
"A sequel to the legendary Topography of the Lungs that first brought together the three improvisers almost half a century ago? Or an edition of Company, Derek Bailey's Variable Geometry Group? Indeed, a libretto by Riccardo Bergerone records Company dates at Dunois in April 81 with these three musicians (12-13 - 14 April?). Almost three and a half hours of music for an evening at Le Dunois. Two DB - HB - EP trios of more than 40 minutes. Two 12 - and 27 - minute DB - EP duets, a 30 - minute DB - HB duo, two 12 - minute HB - EP duets and two 11 - and 10 - minute EP solos.
If Evan Parker and Derek Bailey collaborated closely in duets and other ensembles such as Music Improvisation Company and then Company, as well as with the Spontaneous Music Ensemble (the album Karyobin and the legendary double ceded The Quintessence for example), it's mostly in duet with Derek Bailey that Bennink has been performing for years.
Jean-Marc Foussat, the director of FOU Records, has been a ubiquitous, enthusiastic, selfless and generous soundman ever since. We owe him some superb sounds for these musicians: Aida, a solo of Derek Bailey, Pisa 80, An Improvisor's Symposium of Evan Parker with Bailey Lovens Lewis etc ..., Epiphany of Company etc ... Today, after checking carefully the circumstances of the concert and the recording with the protagonists and witnesses like Jean Buzelin and Jean Rochard, Foussat decided to publish the entirety of it.
Maybe Derek Bailey or Evan Parker would have picked enough to sell two. Since the time of the recording of Topography of The Lungs, a flagship album recorded in 1970 as a creative manifesto for the independent label Incus founded by Bailey, Parker and Tony Oxley, a lot of water had already flowed under the bridges. Topography was then the expression of a sound exploration in the margin of the instrument. Each instrumentalist assumes, directly or in their own way, the "non-idiomatic" demand expressed by Bailey a few years later (see his book Improvisation Its Nature and Practice in Music) within the free-jazz phenomenon completely free and aggressive panzer trend -muzik of Brotzmann and Schlippenbach. But also the music of this album is that of a collective welded and coherent with a common musical goal, the discovery of new sounds and modes of games and completely revolutionary improvisations.
In 1981, this concert features three individuals who have evolved since the year of the recording of Topography of The Lungs and tiennnet to emphasize their differences. It is clear that Bennink and Parker do not have the same concerns. Derek Bailey has found a personal style that will find its most beautiful expression in 1980 in the acoustic album Aida (Incus 40) and his virtuoso playing on the electric, based on the use of a volume pedal, has acquired in a clear and logical way with its partners. Evan Parker has embarked on solo soprano sax music (an illusion of polyphony with circular breathing) as can be heard twice in this set. And he too has created a very personal universe where the oblique treatment of melodic and sometimes repetitive elements with a magical inspiration meets his immoderate taste for alternative breathing and articulation techniques.
Han Bennink has abandoned his drums drums composed of Chinese drums, woodblocks, bells, scrapers, Indian tablas, a multitude of cymbals and rattlesnakes of all sizes and provenances, not to mention this gigantic bass drum, for a much more basic ancient kit. His current style refers more to the sound of Baby Dodds than to that of Elvin Jones, reintroducing African rhythms as they are heard on the ethnological field recordings he collected eagerly (Ocora and Unesco). He adopts a host of instruments: it is heard here to the clarinet and trombone with which he opens the hostilities in the trio of CD 2 with a real talent while playing drums with the feet. A little farther, it is with the harmonica that it is inserted between the two duettists British. But it was not unusual for him to fight with a violin or banjo sitting on the floor. It is also heard to whirl the pulsations and strikes on the surface of these instruments as if all the furniture of an apartment was flying down the stairs bouncing on the steps. Rather than creating a universe based on a common denominator, each artist, and especially Bennink and Bailey, tries to train the other towards his personal fads.
On the first trio of CD 1, Bailey can barely be heard playing the acoustic guitar surrounded by the loudness of the other two. Likewise, in the HB - DB duo of CD 4. This CD 4 closes with a fascinating duet from Parker to soprano and Bennink to clarinet and bass clarinet, which manages to cope with the prodigy. As this is probably the second and final meeting of these three essential musicians, these recordings should alert all who are interested in near and far improvised music and recall the importance of Dunois 28 in the musical life of the improvisation. Steve Beresford just made a comment about a trio gig at the Little Theater Club, presumably in the early '70s. Extraordinary moments and brave attempts to diversify sound and sound practices are removed from this album. hold the challenge of the duration and diversification of improvisations. Paris topography of a multiplicity of sounds and musical actions and a real complicity between three major artists.
These recordings contain all the ingredients of free-music, the explosive energy is close to the trance, the silence is approached with a lot of sonic details, the madness of Han Bennink Bailey presses in its last entrenchments, even in the airy sequences by inventing unforgettable rhythmic figures. If Parker seems imperturbable, he does not hesitate to burst the column of air and warm his reed. Despite inevitable overflows (Bennink!), A deep listening binds the three musicians, especially trio.
The Cd2 Trio also evolves unexpectedly, expressing very validly the philosophy of Project Company in its approach to renew and extend the practice of improvisation. I also add that we hear the audience laughing with the jokes (visual) drummer. Some would say that these four CDs are too long and excessive. I maintain that the exchanges and follies contained here exert (still and ever) a real fascination and that they drag us into extremes to which a studio session does not always succeed. Thank you Jean-Marc, Han and Evan for having authorized this unexpected and highly delightful release!"-Fou Records (via Google Translator
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