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© 2002-2017, Squidco LLC

Morris / Fell / Ward

The Necessary And The Possible

Morris / Fell / Ward: The Necessary And The Possible (Victo)

This incredible trio, recorded at the 25th Victo Actuelle Festival, play complex music using shared ideas about articulation, timbre, and methods of interaction.
 

Price: $15.95

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product information:


UPC: 7774050112627

Label: Victo
Catalog ID: CD 116
Squidco Product Code: 11954

Format: CD
Condition: New
Released: 2009
Country: Canada
Packaging: Jewel Tray
Recorded at the 25th Festival International of Musique Actuelle, May 18, 2008.


Personnel:

Joe Morris-acoustic guitar

Simon H. Fell-bass

Alex Ward-clarinet

Highlight an artist name or instrument above
and click here to Search
track listing:


1. Improviseront 18:38

2. Auront Improvisé 19:12

3. Improvisaient 12:11

4. Improvisérent 6:27

5. Eurent Improvisé 3:31




Related Categories of Interest:


Improvised Music
Jazz
NY Downtown & Jazz/Improv
Victo
Staff Picks & Recommended Items
Trio Recordings

sample the album:








descriptions, reviews, &c.

"The Necessary and the Possible applied to the context of this group -- and what we reach for with our music -- says so much about the subject that I could just type the title enough times to fill this page, not write anything else and leave the rest for the reader to imagine. That might be sinister and apathetic.

Seriously though, Simon, Alex and I are indeed equals. There is a balance of content between us. It is rendered in shared ideas about articulation, timbre, and methods of interaction. The group vocabulary feels limitless. We listen to one another carefully, with a willingness to play in unison, to complement and or juxtapose whatever idea comes to us. Perhaps it's a coincidence that we share this set of things. We live in different countries (me in the U.S., Alex in the U.K., Simon in France) and up to the date of this recording had only worked together as a group for a week. Knowing as I do that there are many U.K. musicians who share a similar degree of technique and versatility, perhaps the real coincidence here pertains to me.

Regardless, the complex set of materials we share makes it possible to achieve what I feel is a rare combination of things. For instance, we freely decide to connect to a kind of narrative flow, a stated or implied pulse or linear progression, then instantly disconnect from it separately or together. This single musical decision gives us an amazing amount of freedom in our performance. It expands our ability to use pitches that can be manipulated with timbre and extended techniques as singular sonic statements, to construct intervallic templates, or to use melodic ideas that ride the flow. Like every part of our music, our collective creation of form requires no planning or discussion. The sequence of events, beginnings and endings occur through trust and confidence in each other."-Joe Morris, March 2009



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The Squid
At The Squid's Ear!

Artist Biographies:

"Joe Morris was born in New Haven, Connecticut on September 13, 1955. At the age of 12 he took lessons on the trumpet for one year. He started on guitar in 1969 at the age of 14. He played his first professional gig later that year. With the exception of a few lessons he is self-taught. The influence of Jimi Hendrix and other guitarists of that period led him to concentrate on learning to play the blues. Soon thereafter his sister gave him a copy of John Coltrane's OM, which inspired him to learn about Jazz and New Music. From age 15 to 17 he attended The Unschool, a student-run alternative high school near the campus of Yale University in downtown New Haven. Taking advantage of the open learning style of the school he spent most of his time day and night playing music with other students, listening to ethnic folk, blues, jazz, and classical music on record at the public library and attending the various concerts and recitals on the Yale campus. He worked to establish his own voice on guitar in a free jazz context from the age of 17. Drawing on the influence of Coltrane, Miles Davis, Cecil Taylor,Thelonius Monk, Ornette Coleman as well as the AACM, BAG, and the many European improvisers of the '70s. Later he would draw influence from traditional West African string music, Messian, Ives, Eric Dolphy, Jimmy Lyons, Steve McCall and Fred Hopkins. After high school he performed in rock bands, rehearsed in jazz bands and played totally improvised music with friends until 1975 when he moved to Boston.

Between 1975 and 1978 he was active on the Boston creative music scene as a soloist as well as in various groups from duos to large ensembles. He composed music for his first trio in 1977. In 1980 he traveled to Europe where he performed in Belgium and Holland. When he returned to Boston he helped to organize the Boston Improvisers Group (BIG) with other musicians. Over the next few years through various configurations BIG produced two festivals and many concerts. In 1981 he formed his own record company, Riti, and recorded his first LpWraparound with a trio featuring Sebastian Steinberg on bass and Laurence Cook on drums. Riti records released four more LPs and CDs before 1991. Also in 1981 he began what would be a six year collaboration with the multi-instrumentalist Lowell Davidson, performing with him in a trio and a duo. During the next few years in Boston he performed in groups which featured among others; Billy Bang, Andrew Cyrille, Peter Kowald, Joe McPhee, Malcolm Goldstein, Samm Bennett, Lawrence "Butch" Morris and Thurman Barker. Between 1987 and 1989 he lived in New York City where he performed at the Shuttle Theater, Club Chandelier, Visiones, Inroads, Greenwich House, etc. as well as performing with his trio at the first festival Tea and Comprovisation held at the Knitting Factory.

In 1989 he returned to Boston. Between 1989 and 1993 he performed and recorded with his electric trio Sweatshop and electric quartet Racket Club. In 1994 he became the first guitarist to lead his own session in the twenty year history of Black Saint/Soulnote Records with the trio recording Symbolic Gesture. Since 1994 he has recorded for the labels ECM, Hat Hut, Leo, Incus, Okka Disc, Homestead, About Time, Knitting Factory Works, No More Records, AUM Fidelity and OmniTone and Avant. He has toured throughout the U.S., Canada and Europe as a solo and as a leader of a trio and a quartet. Since 1993 he has recorded and/or performed with among others; Matthew Shipp, William Parker, Joe and Mat Maneri, Rob Brown, Raphe Malik, Ivo Pearlman, Borah Bergman, Andrea Parkins, Whit Dickey, Ken Vandermark, DKV Trio, Karen Borca, Eugene Chadborne, Susie Ibarra, Hession/Wilkinson/Fell, Roy Campbell Jr., John Butcher, Aaly Trio, Hamid Drake, Fully Celebrated Orchestra and others.

He began playing acoustic bass in 2000 and has since performed with cellist Daniel Levin, Whit Dickey and recorded with pianist Steve Lantner.

He has lectured and conducted workshops trroughout the US and Europe. He is a former member of the faculty of Tufts University Extension College and is currently on the faculty at New England Conservatory in the jazz and improvisation department. He was nominated as Best Guitarist of the year 1998 and 2002 at the New York Jazz Awards."

-Joe Morris Website (http://www.joe-morris.com/biography.html)
3/23/2017

"Alex Ward was born in 1974. He is a composer, improviser, and performing musician. His primary instruments are clarinet and guitar, and he has also performed in public and on recordings on alto sax, piano/keyboards, bass guitar, and as a vocalist. He was based in Oxford from 1992-2000, and since then has lived in London.

His involvement in freely improvised music dates back to 1986, when he met the guitarist Derek Bailey. As an improviser, he was initially principally a clarinettist (sometimes also playing alto sax), but since 2000 he has also been active as an improvising guitarist. On both instruments, hIs longest-standing collaborations in this field have been with the drummer Steve Noble.

From 1993 to 2001, most of his activity as a composer took place in collaboration with Benjamin Hervé, mainly in the context of the rock band Camp Blackfoot. From 2002-2005, his writing was mostly done solo, and was primarily focused on songs. Since 2006, he has been heavily involved in both solo and collaborative composition, predominantly (though not exclusively) of instrumental music. Much of his writing and performing during this time has been done with Dead Days Beyond Help, a duo with drummer Jem Doulton. He also currently leads a number of bands including Predicate, Forebrace, The Alex Ward Quintet/Sextet, and Alex Ward & The Dead Ends.

He has been a member of many other groups including ensembles led by Eugene Chadbourne, Simon H. Fell and Duck Baker, and has also done various work as a session musician and in collaboration with other media. Since 2005, he has co-run the label Copepod Records with composer/performer Luke Barlow. He does the recording, mixing and/or mastering of most of his own music, and for many of the groups he plays in."

-Sites.Google.com (https://sites.google.com/site/alexwardmusician/biography)
3/23/2017

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