Trio X with Joe Mcphee (sax), Jay Rosen (drums), Dominic Duval (double bass and live electronics) recording in New York's Knitting Factor in 1998 with violinist and vocalist Rosi Hertlein.
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Catalog ID: 1106
Squidco Product Code: 10908
Packaging: Jewel Case
Recorded Dec. 28, 1998 at the Knitting Factory, NYC, NY by Jon Rosenberg.
Dominic Duval-doublebass, live electronics
Rosi Hertlein-violin, voice
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• 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)
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1. Elegy: Upon Mourning 1:25
2. Lift Every Voice And Sing 47:57
3. Rapture 12:38
descriptions, reviews, &c.
"Back in the early days of free jazz improvisation many musicians who chose to play multiple instruments were singled out as scapegoats by critics interested in discrediting the music. The logic (or illogic) behind these naysayers' arguments posited that a division of energy and focus between instruments would necessarily result in decreased proficiency. Many of the music's detractors claimed that the new sounds being explored by these musicians were the direct result of such assumed deficiency. Legends like Roland Kirk and Eric Dolphy were among the players who came under repeated fire and if Joe McPhee had been counted in their number no doubt he too would have suffered similar slings and arrows. Like Kirk and Dolphy, McPhee's palette is filled with a diversity of instruments, and his towering abilities on each become readily apparent to the serious listener. That being said, those looking for evidence of McPhee's multi-instrumental prowess will be surprised by this disc. McPhee eschews his usual satchel of reeds and brass and concentrates only on saxophone. "Elegy" is an opening summons for solo bass, brief in duration, but long on ideas. Duval carries his improvisation into the lengthy and radical reading of the old spiritual "Lift Every Voice and Sing" blending together with Herlein's piercing violin in a mutual display of high string harmonics. Similar harmonic artifices are employed during a duet between McPhee's horn and Herlein's wailing voice. Later violin and amplified bass sheathed in electronic overtones engage in still another conversation, elaborated by cascading cymbals and sulfurous sax. Rosen's innumerable percussive inventions provide the propulsive undercurrent that prevents the music from flagging in its own intricacies. Herlien is definitely the wild card here and her contributions take Trio X in directions previously unexplored by these three masters of the unexpected. The piece expands and contracts with glorious uncertainty for nearly fifty minutes and the three find a staggering variety of ways to interact across its duration. The far shorter "Rapture" is an extended exercise in whistling microtones. Though the session was recorded live at the Knitting Factory, the audience in attendance is strangely absent for most of the piece only choosing to erupt boisterously at the close. This disc is easily recommended to both long time McPhee fans and neophytes interested in learning what all the excitement surrounding the man is really about. It could also serve as a final nail in the coffin for those fusty critics mentioned earlier who argued so adamantly against the merits of mulit-instrumentalism."-Derek Taylor, allaboutjazz.com
NY Downtown & Jazz/Improv