Trumpets and Drums (Wooley / Evans / Black / Lytton)
Live in Ljubljana
Two drummers - Jim Black & Paul Lytton - and two trumpeters - Nate Wooley & Peter Evans - came together at the 53rd Ljubljana Jazz Festival to record these extended improvisations, demonstrating the phenomenal skill and compatibility of these outstanding players.
Label: Clean Feed
Catalog ID: CF 282
Squidco Product Code: 17904
Packaging: Cardstock gatefold foldover
Recorded at 53rd Ljubljana Jazz Festival at Cankarjev Dom on June 30th, 2012 by Luis Delgado.
Nate Wooley-trumpet, amplifier
Peter Evans-trumpet, piccolo trumpet
Jim Black-drums, electronics
Paul Lytton-drums, percussion
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1. Beginning 34:18
2. End 21:12
Related Categories of Interest:
NY Downtown & Jazz/Improv
sample the album:
"Trumpet and drums, or more exactly: two trumpets and two drumsets. The trumpeters, Nate Wooley and Peter Evans, are used to playing together, but it's a first finding such different drummers (one a natural born rhythmicist, the other an architect of textures) as Jim Black and Paul Lytton playing together. Wooley has a duo with Lytton, and Evans worked with the two men holding the sticks. So, don't think there's a double duet acting here, or that previous Wooley / Evans or Wooley / Lytton experiences give a base of security to the events heard. As the wild card of the quartet, Black would easily (just by being himself) cut off all attempts to go to chartered terrain, but truth is he doesn't need to: veteran improviser Lytton and the two younger horn players are known, precisely, for their ability to contradict themselves and to perform the unexpected. So, "Trumpet and Drums" isn't the kind of summit you normally get when the same instruments are on stage. There's no battle of skills, even if they're well evident. That's something else what conducts this meeting of giants: to find what the mirrors don't show. And the four musicians do find what they search for, and so can you."-Clean Feed
At The Squid's Ear!
• Show Bio for Nate Wooley
"Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.
Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.
Wooley's solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings "exquisitely hostile".
In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him "an iconoclastic trumpeter", and Downbeat's Jazz Musician of the Year, Dave Douglas has said, "Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole". His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.
Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums."-Nate Wooley Website (http://natewooley.com/about)
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• Show Bio for Peter Evans
"Peter Evans is a trumpet player, and improvisor/composer based in New York City since 2003. Evans is part of a broad, hybridized scene of musical experimentation and his work cuts across a wide range of modern musical practices and traditions. Peter is committed to the simultaneously self-determining and collaborative nature of musical improvisation as a compositional tool, and works with an ever-expanding group of musicians and composers in the creation of new music. His primary groups as a leader are the Peter Evans Quintet and the Zebulon trio. In addition, Evans has been performing and recording solo trumpet music since 2002 and is widely recognized as a leading voice in the field, having released several recordings over the past decade. He is a member of the cooperative groups Pulverize the Sound (with Mike Pride and Tim Dahl) and Rocket Science (with Evan Parker, Craig Taborn and Sam Pluta) and is constantly experimenting and forming new configurations with like minded players. As a composer, he has been commissioned by the International Contemporary Ensemble (ICE), Yarn/Wire, the Donaueschingen Musiktage Festival, the Jerome Foundation's Emerging Artist Program, and the Doris Duke Foundation for the 2015 Newport Jazz Festival. Evans has presented and/or performed his works at major festivals worldwide and tours his own groups extensively. He has worked with some of the leading figures in new music: John Zorn, Kassa Overall, Jim Black, Weasel Walter, Levy Lorenzo, Nate Wooley, Steve Schick, Mary Halvorson, Joe McPhee, George Lewis, and performs with both ICE and the Wet Ink Ensemble. He has been releasing recordings on his own label, More is More, since 2011."-Peter Evans Website (http://pevans.squarespace.com/about/)
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• Show Bio for Jim Black
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)
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