Trio X with Joe Mcphee (sax), Jay Rosen (drums), Dominic Duval (double bass) recording live at Edgefest '99, Ann Arbor, MI, 1999, and the Vision Fest, NYC, NY, June 6, 2001.
Out of Stock
Shipping Weight: 4.00 units
Quantity in Basket: None
Log In to use our Wish List
Catalog ID: 1144
Squidco Product Code: 10905
Packaging: Jewel Case
Tracks 1 to 4 recorded live at Edgefest '99, Ann Arbor, MI, 1999
Tracks 5 to 7 recorded live at Vision Fest, NYC, NY, June 6, 2001
Joe McPhee-pocket trumpet, tenor saxophone
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.
• Show Bio for Joe McPhee
"Joe McPhee, born November 3,1939 in Miami, Florida, USA, is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He began playing the trumpet at age eight, taught by his father, himself a trumpet player. He continued on that instrument through his formative school years and later in a U.S. Army band stationed in Germany, at which time he was introduced to performing traditional jazz. Clifford Thornton's Freedom and Unity, released in 1969 on the Third World label, is the first recording on which he appears as a side man. In 1968, inspired by the music of Albert Ayler, he took up the saxophone and began an active involvement in both acoustic and electronic music.
His first recordings as leader appeared on the CJ Records label, founded in 1969 by painter Craig Johnson. These include Underground Railroad by the Joe McPhee Quartet (1969), Nation Time (1970), Trinity (1971) and Pieces of Light (1974). In 1975, Swiss entrepreneur Werner X. Uehlinger release Black Magic Man by McPhee, on what was to become Hat Hut Records.
In 1981, he met composer, accordionist, performer, and educator Pauline Oliveros, whose theories of "deep listening" strengthened his interests in extended instrumental and electronic techniques. he also discovered Edward de Bono's book Lateral Thinking: A Textbook of Creativity, which presents concepts for solving problems by "disrupting an apparent sequence and arriving at the solution from another angle." de Bono's theories inspired McPhee to apply this "sideways thinking" to his own work in creative improvisation, resulting in the concept of "Po Music." McPhee describes "Po Music" as a "process of provocation" (Po is a language indicator to show that provocation is being used) to "move from one fixed set of ideas in an attempt to discover new ones." He concludes, "It is a Positive, Possible, Poetic Hypothesis." The results of this application of Po principles to creative improvisation can be heard on several Hat Art recordings, including Topology, Linear B, and Oleo & a Future Retrospective.
In 1997, McPhee discovered two like-minded improvisers in bassist Dominic Duval and drummer Jay Rosen. The trio premiered at the Vision Jazz Festival in 1998 but the concert went unnoticed by the press. McPhee, Duval, and Rosen therefore decided that an apt title for the group would be Trio X. In 2004 he created Survival Unit III with Fred Lonberg-Holm and Michael Zerang to expand his musical horizons and with a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections while reaching for music's outer limits."-Joe McPhee Website (http://joemcphee.com/bio.html)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Joe McPhee
1. Intro By David Lynch / God Bless The Child 7:55
2. 'Round Midnight And Later 13:59
3. Going Home 8:16
4. Blood At The Root 16:35
5. Sida's Song 17:54
6. Wait Until Evening 8:01
sample the album:
"When they are "on," the members of Trio X play music that is as good as it gets, and evidence of that is amply abundant here, with some important and exciting interpretations of the emotionally vibrant "God Bless the Child," the Ayler-esque "Goin' Home," and the poignant "'Round Midnight and Later." The recording splices together excerpts from two concerts recorded a couple of years apart, the first few cuts from Ann Arbor, MI's Edgefest '99 and the last three from the 2001 Vision Festival in New York City. While the personnel is the same, the two venues produced very different music, with the selections from Edgefest '99 focusing on tunes, and the later concert featuring generally longer tracks without melodic reference. It is the melodies that shed the most light on the group's strategies, which interpret and continually reinterpret the essence of song in a surprisingly and strikingly accessible way. "Goin' Home" is a highlight with its direct references to Ayler, and the similarities in the approaches of the two saxophonists are unlikely to be missed. Given the small number of performers and the extended recording time, all three players are given plenty of solo space, with McPhee the dominant figure. His outstanding solo on "Round Midnight and Later" impresses with its intensity, and his brass work on "Sida's Song" is some of his best on disc. "Wait Until Evening" opens with a striking bass and drums dance, but somehow it goes on a little too long, and even after McPhee enters on tenor it never returns to the same level of excitement."-Steve Loewy, allmusic.com
NY Downtown & Jazz/Improv
Search for other titles on the CADENCEJAZZ label.