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© 2002-2017, Squidco LLC


Gaines, Will & Bailey, Derek: Rappin & Tappin (Incus)

Free improvising guitarist Derek Bailey in duo with tap dancer Will Gaines, who's percussive dancing can be heard clearly, while Bailey plays guitar and Gaines "raps" in a sort of vaudevillian approach; a unique item even in Bailey's catalog!
 

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product information:


Label: Incus
Catalog ID: INCUS CD55
Squidco Product Code: 2008

Format: CD
Condition: New
Released: 2003
Country: Great Britain
Packaging: Jewel Tray
Recorded in Oostrum Church, Holland by Dick Lucas in 1994


Personnel:

Will Gaines-tap

Derek Bailey-guitar

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track listing:


1. Solo 6:51

2. Go Way Back 3:16

3. Basically 3:19

4. Making Money 6:06

5. Applause, applause, applause 3:32

6. Duo 9:22

7. Glidin 6:36

8. Rappin 6:30

9. Tappin 10:08




Related Categories of Interest:

Incus
Improvised Music
European Improv, Free Jazz & Related
Bailey, Derek
London & UK Free Improvisation Scene
Free Improvisation
Duo Recordings
Before April-2006

sample the album:








descriptions, reviews, &c.

"It's easy to understand Derek Bailey's interest in working with dancers. It's also downright confounding.

Bailey's previous audio document involving the visual form was the simply titled Music & Dance (Revenant), a recording from a live performance with dancer Min Tanaka. Given Tanaka's speed-of-sloth movements and how rarely any sound comes from him, the idea of an audio document is, at face value, laughable. It's also one of Bailey's most satisfying recordings.

Rappin & Tappin pairs Bailey with tap dancer Will Gaines, and while tap is certainly noisier than Tanaka's butoh-inspired work, it's still strange to divorce it from the visual. (Incus has released videotapes of both duets, neither from the same performances as the discs.) Bailey's approach to the guitar is not wide-ranging - he's not one to adopt especially different styles - but he is very much influenced by his playing partners. The "tappin'" comes off like a prolonged rim-shot solo, interesting primarily for the directions in which it pushes Bailey. He leans toward fast staccato runs and, as on the video, the pair listen to each other intently.

If a tap-and-guitar record is an odd idea, a solo tap record is downright goofy. Yet that's what half this disc is. Bailey only arrives halfway through, and the first part of the program is a sort of vaudvillian tappin' and rappin' session from Gaines. He talks about old days, hams it up and delivers seemingly well-rehearsed one-liners. It's a fun listen once, maybe twice. And Bailey, who has made his own off-the-cuff recordings of talking while playing guitar, was no doubt charmed. If it's not entirely rewarding, it is interesting to see Bailey able to let fly his own fancies as a label manager.

Odder yet, but a worthier listen, is a thicket of noise called Limescale. It's often hard to find Bailey in the mesh of staticky percussion - he's there, but there's so much there there that it's hard to see the dog for the fleas. The quintet is made up of Bailey, Tony Bevan on bass saxophone, Alex Ward on clarinet and the arhythm section of T.H.F. Drenching (dictaphone) and Sonic Pleasure (bricks), and what stands out the most is the excellent and underrecognized (at least on these shores) Ward, who is well at home fighting monstrous noise. It's an enjoyable mess of a disc, although some liner notes, or even photos, might have been nice. How and why Drenching and Pleasure came to play their chosen instruments is left to the imagination. Like Rappin & Tappin there's a visual element obscured, a frustrating bit of fun."-Kurt Gottschalk, The Squid's Ear


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))
3/23/2017

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