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© 2002-2017, Squidco LLC


IST: New York (Davies / Fell / Wastell / Zorn): Featuring John Zorn (Confront)

Acoustic string improvising trio IST was invited by Derek Bailey in 2001 for his Company event at Tonic in NYC, here in the entire and intense concert they performed that night, including a 2nd set pairing with John Zorn, pushing the band into amazing and unexpected territory.
 

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Label: Confront
Catalog ID: ccs 40
Squidco Product Code: 20597

Format: CDR
Condition: New
Released: 2015
Country: Great Britain
Packaging: CD in a tin case
Recorded at Tonic, in New York City, on April 17th and 19th, 2001 by Bruce Gallanter.


Personnel:

Rhodri Davie-harp

Simon H. Fell-double bass

Mark Wastell-violoncello

John Zorn-alto saxophone (track 6)

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track listing:


1. For Derek 1 14:10

2. For Derek 2 8:57

3. For Derek 3 6:09

4. For Derek 4 8:03

5. For Derek 5 6:20

6. For Derek 6 6:52




Related Categories of Interest:

Improvised Music
Electro-Acoustic
Electro-Acoustic Improv
Free Improvisation
Trio Recordings
Zorn. John
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descriptions, reviews, &c.

"Mid-April 2001, Derek Bailey was invited to present a Company event at Tonic, the then home of adventurous music in New York. Besides himself, Derek took with him four other performers from the UK - tap dancer Will Gaines and the acoustic string trio IST, comprising of Rhodri Davies, Simon H. Fell and Mark Wastell. These five were joined for three nights of Company music by New York musicians Joey Baron, John Zorn, Jennifer Choi, Annie Gosfield and Min Xiao-Fen. The three nights of Company proper were preceded by an evening of music showcasing the music of the British based contingent. Bailey performed a fascinating duet with Gaines, followed by a lengthy set from IST.

The music IST performed that evening is presented on this disc in its entirety. Bruce Gallanter, tireless proprietor of famed New York record store Downtown Music Gallery, was in the front row, taping direct onto his handheld recorder. He also recorded each and every night of the Company event, during which IST were paired with John Zorn, for a once only meeting, late in the evening of the second night.

"IST played one of the most intense and balanced sets they've delivered in their four-year existence. The players pushed beyond decency into assaults on their instruments, causing the attentive observer to wince. Mark Wastell digs into his cello body with the end of his bow and leaves a white scar: his playing sears the memory likewise. Rhodri Davies' harp is Bailey's guitar writ large, the sound world of Pierre Boulez shot through with the funk and low-humour repartee of the improviser. The simultaneous crisis and hilarity of Simon Fell's two-bow assault on his instrument is audio-science and Dada in one."-Concert review extract from Derek Bailey And The Story Of Free Improvisation by Ben Watson / Verso Books



"The members of IST lovingly and respectfully dedicate this music to Derek Bailey (1930-2005).

IST also extend warm thanks and appreciation to John Zorn for graciously permitting us to include his contribution."-Confront


Artist Biographies:

Simon H. Fell (b. Dewsbury, Yorkshire, 13 January 1959) is a bassist and composer; he is primarily known for his work as a free improviser and the composer of ambitiously complex post-serialist works.

Fell began playing double bass in 1973. From 1978 to 1981 he read English Literature at Fitzwilliam College of Cambridge University,[1] an interest that led to ties to many of the poets associated with the Cambridge scene (a later work, Music for 10(0), involves settings of texts by the poet/music journalist/provocateur Ben Watson).

Fell's most notable early group was a group with drummer Paul Hession and saxophonist Alan Wilkinson, a free-jazz trio that was exceedingly fast and furious even by the standards of that genre. Their work was primarily released as cassettes and CDs on Fell's label Bruce's Fingers, including Bogey's and the group's only studio album, foom! foom! Their most sonically extreme statement, however, was the grainily recorded The Horrors of Darmstadt (Shock). (Its title is a sarcastic quotation from a BBC announcer concerning the avant-garde Darmstadt School of composers.)

Other groups in which Fell is or was a member include the free jazz trio Badland (led by saxophonist Simon Rose; initially the drummer was Mark Sanders, with Steve Noble subsequently taking over the role), the improvising string+percussion ensemble ZFP (with Carlos Zingaro, Marcio Mattos and Mark Sanders), and SFQ, a quartet/quintet with changing membership, though clarinettist Alex Ward has been a constant. (Fell's 2001 version of his 70-minute SFQ composition Thirteen Rectangles was broadcast twice by the BBC and subsequently nominated for the 'new work' award in the 2002 BBC Jazz Awards.) In sharp contrast to the uproar of Hession/Wilkinson/Fell, the trio IST (with Rhodri Davies and Mark Wastell) was one of the seminal groups in the development of the ultra-quiet aesthetic now generally called "EAI" or "electroacoustic improvisation". Fell has also performed in many other ensembles, including the London Improvisers Orchestra and Derek Bailey's Company Week.

Fell's major sequence of compositions is titled Compilation (to date, four such projects have been issued). Despite the governing title, these are not collections of previous material but new, large-scale works. The musical language makes overt use of serialist procedures (such as tone rows, retrograde structures, &c), as well as many other techniques: extensive studio layering, overdubbing and reordering of material (so that seemingly "live" performances may be the result of carefully edited-together improvisations and/or notated material), and use of aleatoric techniques to "degrade" or distort precomposed structures into new shapes. Free improvisation, rock and jazz all form key parts of the musical language; one section of Compilation IV even includes a simultaneous hommage to Karlheinz Stockhausen and Henry Mancini. The cast of musicians drawn on for these pieces usually includes a mix of classically trained players, jazzers and free improvising musicians, as well as wild cards like the noise guitarist Stefan Jaworzyn. While virtuoso players such as Evan Parker and John Butcher are essential to the projects, Fell often deliberately makes use of amateur or student musicians, too, not as a makeshift but as an intentionally democratizing and less predictable element.

Other large-scale composition projects include:

• his compositions for The London Improvisers' Orchestra (Papers, Happy Families, Kšln Klang, Ellington 100 (Strayhorn 85), Morton's Mobile, Too Busy and Three Mondrians) (1998-2004)
• Kaleidozyklen, a 60-minute piece for improvising double bassist and orchestra (2000)
• Thirteen New Inventions, a major solo piano piece commissioned by Philip Thomas (2005)
• the concert-length BBC Radio 3 commission, Positions & Descriptions (for 18 musicians & prerecorded materials), premiered at the Huddersfield Contemporary Music Festival (2007)
• a 1-hour suite for sextet, The Ragging Of Time, commissioned by the Marsden Jazz Festival (2014)
-Wikipedia (https://en.wikipedia.org/wiki/Simon_Fell)
5/19/2017

"Mark Wastell Born 1968; cello.

Much of Mark Wastell's relationship with his chosen instrument is concentrated on the tactile, textural and sonic possibilities of both violoncello and bow. He is increasingly interested in working with extreme elements drawn from frequency, timbre and pitch.

His early activity was consciously and subconsciously influenced by a variety of improvising musicians including John Stevens, Barry Guy, Phil Durrant and John Russell. Subsequent exposure to contemporary composers lead to a greater understanding and appreciation of the works written for strings by Feldman, Cage, Nono, Lachenmann and Sciarrino. The use of live electronics and music concrete by Tudor, Parmegiani, Xenakis and others was another important early influence.

Wastell's current instrumental material primarily focuses on using abstract principles of space and texture - encompassing elements of new London silence, pro-instrument minimalism, new complexity and electro-acoustics. Because of the very nature of his chosen instrument, he tends to favour 'chamber' style ensembles and is a member of a number of regular groups:

• Chris Burn's Ensemble, with John Butcher, Rhodri Davies, John Russell, Matt Hutchinson

• Derek Bailey's Company - with, for example, Will Gaines, Simon H. Fell and Rhodri Davies

• Evan Parker's String Project, with Peter Cusack, Hugh Davies, Rhodri Davies, Phil Durrant, John Edwards, Kaffe Matthews, Marcio Mattos, John Russell

• Assumed possibilities, with Chris Burn, Rhodri Davies and Phil Durrant

• The Sealed Knot, with Burkhard Beins and Rhodri Davies

• Necessaire with Alessandro Bosetti, Ignaz Schick and Burkhard Beins

• IST with Simon Fell and Rhodri Davies

• Quatuor Accorde with Tony Wren, Phil Durrant and Charlotte Hug

• Broken Concort, a duo with Rhodri Davies

Mark Wastell has also performed with many other leading musicians including John Zorn, Keith Rowe, Peter Kowald, Hugh Davies, Roger Turner, Veryan Weston, Lol Coxhill, Mark Sanders, Axel Dorner, Hans Koch, Phil Minton, Max Eastley and Steve Beresford.

As a soloist he has played at the Micro-classical Festival (London 1996), LMC Festival (London 2000) and the Huddersfield Contemporary Music Festival (2000). He has travelled extensively with various groups, performing on tour and at festivals in the USA, France, Spain, Italy, Germany, Sweden, Denmark and Greece. Other work includes the launch in 1996 of his own record label, Confront Recordings. Wastell is also joint co-ordinator of the concert venue All Angels, together with Rhodri Davies."

-European Free Improv (EFI) (http://www.efi.group.shef.ac.uk/musician/mwastell.html)
5/19/2017

"John Zorn (born September 2, 1953) is an American composer, arranger, producer, saxophonist, and multi-instrumentalist with hundreds of album credits as performer, composer, and producer across a variety of genres including jazz, rock, hardcore, classical, surf, metal, klezmer, soundtrack, ambient, and improvised music. He incorporates diverse styles in his compositions which he identifies as avant-garde or experimental. Zorn was described by Down Beat as "one of our most important composers".

Zorn established himself within the New York City downtown music movement in the mid-1970s performing with musicians across the sonic spectrum and developing experimental methods of composing new music. After releasing albums on several independent US and European labels, Zorn signed with Elektra Nonesuch and received wide acclaim with the release of The Big Gundown, an album reworking the compositions of Ennio Morricone. He attracted further attention worldwide with the release of Spillane in 1987, and Naked City in 1989. After spending almost a decade travelling between Japan and the US he made New York his permanent base and established his own record label, Tzadik, in the mid-1990s.

Tzadik enabled Zorn to maintain independence from the mainstream music industry and ensured the continued availability of his growing catalog of recordings, allowing him to prolifically record and release new material, issuing several new albums each year, as well as promoting the work of many other musicians. Zorn has led the hardcore bands Naked City and Painkiller, the klezmer/free jazz-influenced quartet Masada, composed over 600 pieces as part of the Masada Songbooks that have been performed by an array of groups, composed concert music for classical ensembles and orchestras, and produced music for opera, sound installations, film and documentary. Zorn has undertaken many tours of Europe, Asia, and the Middle East, often performing at festivals with many other musicians and ensembles that perform his diverse output.

Zorn's compositions cross many genres and he has stated "All the various styles are organically connected to one another. I'm an additive person-the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can't see the connections, but they are there." For Zorn "Composing is more than just imagining music-it's knowing how to communicate it to musicians. And you don't give an improviser music that's completely written out, or ask a classical musician to improvise. I'm interested in speaking to musicians in their own languages, on their own terms, and in bringing out the best in what they do. To challenge them and excite them." "

-Wikipedia (https://en.wikipedia.org/wiki/John_Zorn)
5/19/2017

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