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Wheeler, Kenny: Song For Someone (psi)


 

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product information:


UPC: 5030243040124

Label: psi
Catalog ID: 04.01
Squidco Product Code: 2825

Format: CD
Condition: New
Released: 2004
Country: Great Britain
Packaging: Jewel Tray
Recorded at Olympic Sound Studios London, England, on January 10th and 11th, 1973, by Keith Grant.


Personnel:

Kenny Wheeler-trumpet, flugelhorn, voice

Mike Osborne-alto saxophone

Ron Matthewson-bass

John Taylor-electric piano

Derek Bailey-guitar

Tony Oxley-percussion

Alan Branscombe-piano, electric piano

Evan Parker-soprano saxophone, tenor saxophone

Duncan Lamont-tenor saxophone, flute

Bobby Lamb-trombone

Chris Pyne-trombone

David Horler-trombone

Keith Christie-trombone

Jim Wilson-bass trombone

Malcolm Griffiths-bass trombone

Dave Hancock-trumpet

Greg Bowen-trumpet

Ian Hamer-trumpet

Alfie Reece-tuba



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track listing:


1. Toot - Toot 4:14

2. Ballad Two 8:26

3. Song For Someone 2:40

4. Causes Are Events 8:15

5. The Good Doctor 15:15

6. Nothing Changes 4:23
Related Categories of Interest:

Improvised Music
Jazz
EMANEM & psi
Parker, Evan
Before April-2006
Instant Rewards

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descriptions, reviews, &c.

"This recording has a split personality: much of it comes from a solid, 1970s jazz big band perspective, with occasional emblems of the era (such as electric piano), and consistently solid solos, especially from the leader, trumpeter Kenny Wheeler. Vocalist Norma Winstone is a steady, energetic presence, and the ensemble responds with enthusiasm. She waxes gorgeously on Wheeler's "Song for Someone," while on "Ballad Two," Winstone luxuriates elegantly as Wheeler discriminatingly explores varied moods, and a magnificent sax solo closes it out. Wheeler is often known for his work in ensembles in which free improvisation is the unifying factor, but he has performed much more within a more traditional jazz context that manages to nudge the post-bop vocabulary ever so slightly, in much the way that another trumpeter, Dave Douglas, does. Evan Parker is added on "Causes Are Events" and "The Good Doctor," the latter on which Derek Bailey appears. "Causes Are Events" begins peacefully, butafter a couple of minutes Parker bursts forth in what is even for him a remarkable demonstration of his abilities. He continues with unmitigated energy on the flag-raising "The Good Doctor," which might be confused with something from the Globe Unity Orchestra. The next piece, "Nothing Changes," again features the soothing voice of Winstone, with the big band regaling in Wheeler's sumptuous harmonies. Some might find it disconcerting that two seemingly disparate styles are juxtaposed together. Others will see it as evidencing the breadth of the music. Perhaps they should have called it The Two Sides of Kenny Wheeler, but that might have too constricting for this highly versatile performer."-Steve Loewy, All Music


Artist Biographies:

"Kenneth Vincent John Wheeler, OC (14 January 1930 - 18 September 2014) was a Canadian composer and trumpet and flugelhorn player, based in the U.K. from the 1950s onwards.

Most of his performances were rooted in jazz, but he was also active in free improvisation and occasionally contributed to rock music recordings. Wheeler wrote over one hundred compositions and was a skilled arranger for small groups and large ensembles.

Wheeler was the patron of the Royal Academy Junior Jazz course.

Wheeler was born in Toronto, Ontario, on 14 January 1930. Growing up in Toronto, he began playing cornet at age 12, and became interested in jazz in his mid-teens. Wheeler spent a year studying composition at the Royal Conservatory in Toronto in 1950. In 1952 he moved to Britain. He found his way into the London jazz scene of the time, playing in groups led by Tommy Whittle, Tubby Hayes, and Ronnie Scott.

In the late 1950s, he was a member of Buddy Featherstonhaugh's quintet together with Bobby Wellins. Throughout the sixties, he worked with John Dankworth, and also formed part of (Eric Burdon and) the Animals' Big Band that made its only public appearance at the 5th Annual British Jazz & Blues Festival in Richmond (1965) with tenors Stan Robinson, Dick Morrissey and Al Gay, baritone sax Paul Carroll, and fellow trumpets Ian Carr and Greg Brown. In 1968, Wheeler appeared on guitarist Terry Smith's first solo album, Fall Out.

Wheeler performed and recorded his own compositions with large jazz ensembles throughout his career, beginning with the first album under his own name, Windmill Tilter (1969), recorded with the John Dankworth band. A CD was released by BGO Records in September 2010. The big band album Song for Someone (1973) fused Wheeler's characteristic orchestral writing with passages of free improvisation provided by musicians such as Evan Parker and Derek Bailey, and was also named Album of the Year by Melody Maker magazine in 1975. It has subsequently been reissued on CD by Parker's Psi label.

In the mid-1960s, Wheeler became a close participant in the nascent free improvisation movement in London, playing with John Stevens Parker, the Spontaneous Music Ensemble and the Globe Unity Orchestra. Despite the above-noted accomplishments, much of his reputation rests on his work with smaller jazz groups. Wheeler's first small group recordings to gain significant critical attention were Gnu High (1975) and Deer Wan (1977), both for the ECM label (Gnu High is one of the few albums to feature Keith Jarrett as a sideman since his tenure with Charles Lloyd). One exception from the ongoing collaboration with ECM was his rare album on CBC called Ensemble Fusionaire in 1976. This had three other Canadian musicians and was recorded in St. Mary's Church in Toronto for a different character to the sound than on the ECM recordings.

Wheeler was the trumpet player in the Anthony Braxton Quartet from 1971 to 1976, and from 1977 he was also a member of the chamber jazz group Azimuth (with John Taylor and Norma Winstone).Later life

In 1997 Wheeler received widespread critical praise for his album Angel Song, which featured an unusual "drummerless" quartet of Bill Frisell (guitar), Dave Holland (bass) and Lee Konitz (alto sax).

Wheeler died after a short period of frail health at a nursing home in London on 18 September 2014. He was 84 years old."

-Wikipedia (https://en.wikipedia.org/wiki/Kenny_Wheeler)
1/12/2018

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

"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))
1/12/2018

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

"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)
1/12/2018

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

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