The Squid's Ear Magazine

  Rapid SSL

  PayPal

  Mastercard

  Visa

  Discover

  American Express



© 2002-2021, Squidco LLC


Rothenberg, Ned Double Band: Real and Imagined Time (Moers Music)


 

Price: $16.95


Quantity:

Out of Stock


Shipping Weight: 3.00 units

Quantity in Basket: None

Log In to use our Wish List
product information:


UPC: 4012770130067

Label: Moers Music
Catalog ID: 03006 CD
Squidco Product Code: 5529

Format: CD
Condition: New
Released: 1993
Country: Germany
Packaging: Digipack
Recorded at Sorcerer Sound in New York City, New York, on May 11-12 and July 27-28, 1993, by John Siket.


Personnel:

Ned Rothenberg-alto saxophone, flute

Thomas Chapin-alto saxophone, soprano saxophone, flute

Jerome Harris-electric bass, electric guitar

Billy Martin-drums

Chris Wood-electric bass

Jim Black-drums

Click an artist name above to see in-stock items for that artist.

Highlight an instrument above
and click here to Search for albums with that instrument.

Artist Biographies:

"Composer/Performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 33 years on 5 continents. He performs primarily on alto saxophone, clarinet, bass clarinet, and the shakuhachi - an endblown Japanese bamboo flute. His solo work utilizes an expanded palette of sonic language, creating a kind of personal idiom all its own. In an ensemble setting, he leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla, works with the Mivos string quartet playing his Quintet for Clarinet and Strings and collaborates around the world with fellow improvisors. Recent recordings include this Quintet, The World of Odd Harmonics, Ryu Nashi (new music for shakuhachi), and Inner Diaspora, all on John Zorn's Tzadik label, as well as Live at Roulette with Evan Parker, and The Fell Clutch, on Rothenberg's Animul label."

-Ned Rothenberg Website (http://www.nedrothenberg.com/short&extended_biography.html)
6/18/2021

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

"Jerome Harris has won international recognition as one of the more versatile and penetrating stylists of his generation on both guitar and bass guitar.

Jerome's first major professional performances were as bass guitarist with Sonny Rollins in 1978; from 1988 to 1994 he was Rollins' guitarist, and appears on five of his recordings. Over the past two decades, Jerome has also recorded and/or performed live on six continents with such jazz notables as Jack DeJohnette, Bill Frisell, Ray Anderson, Don Byron, Bobby Previte, Oliver Lake, Amina Claudine Myers, Bob Stewart, George Russell, Julius Hemphill, and Bob Moses.

His extensive international work has included several stints in Japan with Sonny Rollins, as well as tours sponsored by the U.S. State Department: to six southeastern African countries with saxophonist Sam Newsome and guitarist Marvin Sewell, to India and southeast Asia with flutist Jamie Baum and guitarist Kenny Wessel, to India and several Middle Eastern countries with vibraphonist Jay Hoggard's group, and to five African nations with saxophonist Oliver Lake's reggae/jazz/funk band "Jump Up."

In 1999, Harris served as arranger, rhythm guitarist and assistant to musical director Vernon Reid in the "Joni's Jazz" tribute concert staged in New York's Central Park--with Joni Mitchell herself in attendance--accompanying singers as diverse in style as Chaka Khan, Jane Siberry, Duncan Sheik and P.M. Dawn. Other Harris credits include a Broadway stint as guitarist in the South African R&B/rock musical Kat and the Kings, as well as work on industrial, commercial and film score dates for Galen Communications Group, Rick Lyon Music, and Richard Eisenstein.

Over the years, Jerome Harris has appeared on more than fifty recordings, making for a lengthy and wide-ranging discography. His most recent CD as a leader is Rendezvous--the first-ever jazz release by the audio connoisseur magazine Stereophile--which captures the drive and grace of his quintet in gorgeous high-resolution sound. On Hidden in Plain View (New World), Jerome's acoustic bass guitar underpins an all-star group reinterpreting compositions by jazz trailblazer Eric Dolphy. In Passing (Muse) showcases the first of Jerome's groups to utilize a reeds-trombone-vibes-bass-drums line-up. Jerome's debut as a leader was Algorithms (Minor Music), featuring saxophonist Marty Ehrlich, who has also appeared on the three subsequent Harris releases.

Among Harris's appearances on record as featured sideman are Don Byron's A Fine Line: Arias and Lieder (Blue Note), Malinke's Dance, by Marty Ehrlich's Travelers Tales (Omnitone), Jack DeJohnette's Oneness (ECM), the Ray Anderson Lapis Lazuli Band's Funkorific (Enja) and Ned Rothenberg & Sync's Inner Diaspora (Tzadik), Harbinger (Animul), and Port of Entry (Intuition). Each showcases Jerome's expressive range, stylistic insight, and creativity.

Jerome Harris conceived and organized "Living Time": George Russell's Musical Life and Legacy, an in-depth examination of the work and life of legendary composer/bandleader/theorist/educator George Russell (1923-2009). While Russell's innovative music, challenging ideas and pivotal position in jazz history have been celebrated around the world, he remains somewhat under-recognized in the United States. This event provided a major appraisal of Russell's multi-faceted career and his important contributions to African American improvisational art music. Panelists included David Baker, Gary Giddins, Cameron Brown, Joe Hunt, Stanton Davis, Marty Ehrlich, Ken Schaphorst, Ben Schwendener and Russell biographer Duncan Heining. Professors Ingrid Monson of Harvard and John Howland of Rutgers served as panel moderators. The event was presented by Boston's New England Conservatory of Music on March 21, 2010, as part of its celebration of the 40th anniversary of its jazz studies program, the first fully accredited jazz program at a music conservatory; George Russell taught at NEC from 1969 to 2004.

Harris's scholarly interests have led to an essay, "Jazz on the Global Stage," published in the anthology The African Diaspora: A Musical Perspective, edited by Ingrid Monson (Garland). In this study, he offers an insider's view of the history, present state and future implications of the spread and flourishing of jazz in locales far from its African-American birthplace. He is currently (fall 2009; 2007-2008) adjunct Assistant Professor of Music at Hampshire College in Amherst, Massachusetts, teaching courses on the history and social context of jazz and blues.

Born and raised in New York, Jerome began his instrument studies on accordion, then played violin in a middle-school orchestra. Self-taught on guitar as well as bass guitar, as a teenager he immersed himself in a broad range of musics--rock, pop, blues, country, gospel, folk and R&B--as both fan and player.

After earning a B.A. in psychology and social relations at Harvard College in 1973, Harris attended New England Conservatory of Music as a scholarship student in jazz guitar. He graduated with honors in 1977.

In addition to his work on guitar and bass guitar, Jerome performs as a singer, has done voice-over work for audio production houses, and studies several percussion instruments."

-Jerome Harris Website (https://www.jeromeharris.com/mywork/index.cfm)
6/21/2021

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

"Billy Martin was born in NYC in 1963 to a Radio City Rockette and a concert violinist. At age 17, he devoted himself to music and dove into Manhattan's thriving, eclectic musical landscape. In the years to follow, he honed his craft everywhere from Broadway orchestra pits to Brazilian nightclubs and burgeoning underground performance spaces.

From the roots of the downtown scene he emerged with Medeski Martin and Wood, bridging the harmonic complexity of jazz, the conversational fluency of free improvisation, and the groove and swagger of classic R&B and funk. A series of albums and high-profile collaborations with John Scofield, John Zorn, iggy Pop, Natalie Merchant, and others, brought the band international acclaim.

Martin has relentlessly pursued diverse musical contexts, from free improvisation to chamber compositions to film scores. Much of his work is available via his Amulet Records label, which recently released the Road to Jajouka-a series of collaborations (produced by Martin) between the Master Musicians of Jajouka and such artists as Ornette Coleman, Flea, Marc Ribot, John Zorn, Lee Ranaldo, Bill Laswell, Mickey Hart, MMW and more.

Martin is also an accomplished filmmaker and visual artist, whose work has been exhibited in solo and group installations around the world including 2014's Cartegena de indias Bienal in Colombia and the Drawing Sound series at The Drawing Center in NYC (2015)

What began for Martin as tireless enthusiasm for music, percussion, and improvisation evolved into a wide ranging search for the roots of inspiration. Among the most valuable undertakings in this ongoing exploration is teaching. "When I teach," he explains, "I learn and discover methods to build my vocabulary and style, and I love to help others do the same"

His experiences as a teacher, student, and musician led him to create and direct Life on Drums, a cinematic exploration of percussion and the creative process with his childhood drum instructor, Allen Herman.

Billy is currently Executive Artistic Director and CEO of the legendary Creative Music Studio

He also owns and manages his own record label Amulet Records."

-Billy Martin Website (http://www.billymartin.net/about/)
6/18/2021

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

Jim Black is at the forefront of a new generation of musicians bringing jazz into the 21st century. In addition to being one of the most influential drummers of our time, he is also the leader of one of the world's most forward-thinking bands, AlasNoAxis, featuring his longtime collaborators Chris Speed, Hilmar Jensson and Skúli Sverrisson. Based on the foundation of his virtuosic but highly personal approach to jazz drumming, Black's aesthetic has expanded to include Balkan rhythms, rock songcraft and laptop soundscapes. Though he is revered worldwide for his limitless technique and futuristic concepts, what many listeners treasure in most Jim Black's work is the relentless feeling of joy and invention he brings to his performances. Jim Black's smiling, kinetic, unpredictable presence has enthralled and inspired audiences worldwide for over twenty-five years.

Since the mid-90's, Black has played a major role in the incorporation of new sounds and techniques into the jazz/creative music context. As a member of the collective group Pachora (with Speed, Sverrisson, and guitarist Brad Shepik) Black was one of the leaders in the study and adaptation of Balkan music into jazz-based music. His advanced techniques abstracted the odd time signatures of the Balkans into a new polyrhythmic language equally informed by modern jazz, drum&bass and the dumbeks of the Balkans. Black has also been an innovator in the use of electronics in improvisation, bridging the gap between electro-acoustic improv and more jazz-based traditions. Today, Black's performances are just as likely to feature his laptop-based electronic textures as his drumming.

Born in 1967, Jim Black grew up in Seattle alongside future colleagues Chris Speed, Andrew D'Angelo and Cuong Vu. After cementing their personal and artistic relationships in Seattle's various youth jazz ensembles, in 1985 they moved to Boston, where Black entered the Berklee School of Music. In Boston, Black, Speed and D'Angelo formed Human Feel with guitarist Kurt Rosenwinkel, which rapidly attracted the attention of the jazz cognoscenti in Boston, New York and beyond.

By 1991, Black and the other members of Human Feel had moved to New York City, where they electrified the Downtown music scene then centered around the Knitting Factory and rapidly became among the city's busiest sidemen. Black's early years in New York saw him take featured roles in some of the most critically acclaimed bands of the time, like Tim Berne's Bloodcount, Ellery Eskelin's trio, and Dave Douglas's Tiny Bell Trio. Thus began fifteen years of near-constant touring and recording, with the above bands as well as artists like Uri Caine, Dave Liebman, Nels Cline, Steve Coleman, Tomasz Stanko, and Laurie Anderson.

-Jim Black Website (http://www.jimblack.com/Jim_Black_dotcom/BIO.html)
6/18/2021

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


1. Railbread 6:32

2. Goon Squad 7:26

3. Real and Imagined Time 13:37

4. The Medley of Unbroken Lines: Once and Future/Freeka Seven/Open Jaw 18:16

5. Waltz Fracture 5:40

6. Fits and Starts 8:10
sample the album:








descriptions, reviews, &c.

"As the rhythms kick in on "Railbread" and the band starts churning through a rollicking groove, a sense of poignancy is unavoidable -- not the feeling one would normally expect from such an upbeat form of jazz-funk. But here they come, the two altoists up front in the stereo speakers, Ned Rothenberg to the right and Thomas Chapin to the left: two unbeatable downtown New York saxophonists, who -- along with the other four stalwarts of the Ned Rothenberg Double Band -- are ideally suited to realizing the bandleader's conception for this most satisfying amalgam of jazz, funk, rock, and avant-garde music styles. And given Chapin's premature passing in 1998 -- robbing the scene of one of its early lights, guiding forces, and most enthusiastic proponents -- it will never be possible to experience this lineup on a stage again. But there are the two Double Band discs on Moers, and for that fact listeners should be grateful. On the evidence of Real and Imagined Time, the group was on an upward trajectory when the CD was recorded in May and July of 1993. It's sometimes tempting to credit drummer Jim Black with enlivening every project he's in; let's just say that there's no evidence here to contradict that theory. Black and Billy Martin work together on drums as perfectly as Rothenberg and Chapin on saxophones; like the reedmen, they seem more like one musician with the physical resources of two -- that's how closely their playing is integrated. Rounding out the rhythm section -- or perhaps squaring off, given their sharp and percussive attacks -- are Chris Wood and Jerome Harris on electric basses, punchy and nailing the groove from start to finish. Harris is also given a few opportunities to blast off with burning solos on electric guitar; any fan of his work with Bobby Previte's Latin for Travelers or Empty Suits should find much to admire in his flare-ups on the title track and the initial "Once and Future" portion of "The Medley of Unbroken Lines." The three-part "Medley" is one of those extended-form Rothenberg powerhouses, and it perfectly illustrates the saxophonist's skill in fashioning multi-sectioned narratives and his ability to find the funk root in his trademark ostinatos. The full band rolls with him in the first measures of "Once and Future," but after several minutes everyone has dropped off but the leader, who maintains the piece's harmony and rhythmic momentum with powerful solo circular breathing -- the effect is a little like crossing Evan Parker with P-Funk. The band re-enters to support Harris' solo, collectively raising the dynamic level back up into the red zone, only to bring it down in a hypnotic segue to "Freeka Seven," a soulful cruiser that layers and builds polyrhythms and polyphony over its initial 7/8 mid-tempo pulse. The Rothenberg alto and Chapin flute solos here, and the flute melodies that both musicians play in counterpoint, provide some of the CD's loveliest moments. As "The Medley of Unbroken Lines" reaches its final four minutes and "Freeka Seven" segues into "Open Jaw," Rothenberg and Chapin shift back to saxophones and the percussives are punched up to a more assertive level; all six musicians unite in navigating a tricky ensemble chart that builds to the suite's dramatic and rousing finish. The CD's title track is nearly as ambitious as "Medley," noteworthy not only for the aforementioned fretwork from Harris but also the moody alto ruminations from an unaccompanied Rothenberg, a fiery soprano solo from Chapin, an energetic tandem drum blowout from Black and Martin (Deadheads and Allmaniacs take note), and the off-kilter rhythm beneath beautiful soprano and alto lines as the piece winds toward a rather spacy and understated conclusion. Listeners familiar with Rothenberg's classic Power Lines CD will recognize "Fits and Starts," the last track of Real and Imagined Time, which reappeared on the later Power Lines in more chamberesque form as "Bellhop Vontz." The funk quotient is higher on "Fits and Starts," and it's intriguing not only to hear how different the two versions sound, but also how alike they are despite their highly improvised feel. The Ned Rothenberg Double Band had truly hit its stride on this CD, and it leaves the listener elevated while also providing yet another reason to mourn Chapin's loss. Moers apparently has a third Double Band disc in the can, and one wishes that it might see the light of day sometime soon. It's hard to imagine that it would be anything less than a tremendous recording -- and one to provoke the same mixture of joy and sadness as Real and Imagined Time. "-Dave Lynch, All Music

Related Categories of Interest:

Rothenberg, Ned
Improvised Music
Jazz
NY Downtown & Jazz/Improv
July 2007
Recordings by or featuring Reed & Wind Players
Instant Rewards


Other Releases With These Artists:
Astroturf Noise (Harmet / Nagano / Swanson / Martin / Bernstein)
Astroturf Noise [VINYL]
(577)
Astroturf Noise (Harmet / Nagano / Swanson / Martin / Bernstein)
Astroturf Noise
(577)
Black, Jim Trio (w/ Elias Stemseder / Thomas Morgan)
Reckon
(Intakt)
Douglas, Dave Tiny Bell Trio
Constellations (2002 edition)
(Hatology)
Eskelin, Ellery w/ Andrea Parkins / Jim Black
12 (+1) Imaginary Views
(Hatology)
Perkin, Miles Quartet (Perkins / Arthurs / Delbecq / Black)
The Point In Question [VINYL w/ DOWNLOAD CODE]
(Clean Feed)
Perkin, Miles Quartet (Perkins / Arthurs / Delbecq / Black)
The Point In Question
(Clean Feed)
Eskelin, Ellery / Andrea Parkins / Jim Black
Kulak, 29 & 30
(Hatology)
Eskelin, Ellery w/ Andrea Parkins & Jim Black
Five Other Pieces (+2)
(Hatology)
Dresser, Mark Seven (Nicole Mitchell / Ehlrlich / GoGwilt / Dessen / White / Black / McLagan)
Ain't Nothing But A Cyber Coup & You
(Clean Feed)
Perelman, Ivo / Mat Maneri / William Henry Roberts / Ned Rothenberg
Strings 2
(Leo Records)
Bica, Carlos & Azul (feat. Frank Mobus / Jim Black)
Azul In Ljubljana
(Clean Feed)
Black, Jim
Malamute
(Intakt)
Black, Jim Trio
The Constant
(Intakt)
Various Artists
Dix Improvisations - Victoriaville 1989
(Les Disques Victo)
Bica, Carlos & Azul (w/ Frank Mobus / Jim Black)
More Than This
(Clean Feed)
Rothenberg, Ned / Mark Feldman / Sylvie Courvoisier
In Cahoots
(Clean Feed)
Dresser, Mark Seven (Mitchell / Ehrlich / Boroff / Dessen / White / Black)
Sedimental You
(Clean Feed)
Jones with Friends, JC
Duos II
(Kadima)
Nagai, Shoko (w/ Reynolds / Goldberger / Takeishi / Black)
Taken Shadow
(Animul)
Parker, Evan ElectroAcoustic Septet
Seven
(Les Disques Victo)
Evans, Peter Quintet
Destination: Void
(More Is More)
Schmid, Peter A. / Ned Rothenberg
En Passant
(Creative Works Records)
Trumpets and Drums (Wooley / Evans / Black / Lytton)
Live in Ljubljana
(Clean Feed)
Eskelin, Ellery / Andrea Parkins / Jim Black
One Great Day
(hatOLOGY)
Douglas, Dave Tiny Bell Trio
Constellations
(Hatology)
Eskelin, Ellery / Parkins, Andrea / Black, Jim
One Great Night...Live
(Hatology)
Maroney, Denman Quintet
Udentity
(Clean Feed)
Angeli / Parker / Rothenberg
Free Zone Appleby 2007
(psi)
Medeski, Martin And Wood
Zaebos: The Book Of Angels Volume 11
(Tzadik)
Jones, JC
ReComp
(Kadima)
Martin, Billy
Illy B Eats, Volume 3
(Amulet)
New Winds
Potion
(Les Disques Victo)
Sync
Port of Entry
(Intuition)
Rothenberg, Ned
The Crux: Selected Solo Wind Works (1989-1992)
(Leo Records)
Rothenberg Ned, Double Band
Overlays
(Moers Music)
Rothenberg, Ned Double Band
Parting
(Moers Music)
Jones with Friends, JC
Duos II
(Kadima)
Tsahar / Maneri / Black
Jam
(Hopscotch Records)
Eskelin, Ellery
Ramifications
(Hatology)
Eskelin, Ellery / Andrea Parkins / Jim Black
Arcanum Moderne
(Hatology)
Recommended & Related Releases:

Search for other titles on the Moers Music label.