Reflecting on the Horweb Sax Quartet he was a member of during the 80s, UK improvising saxophonist Martin Archer uses AACM influences (and covers one Roscoe Mitchell piece) as he plays all parts of a series of "solo" saxophone recordings, layering his playing alone and in harmony, in call and response, and in insanely creative ways that never cease to engage his listeners.
Format: CD Condition: New Released: 2019 Country: UK Packaging: Cardboard Gatefold 3 Panels Recorded at Discus Music Studio, between January 2018 and February 2019.
Personnel:
Martin Archer-baritone saxophone, tenor saxophone, alto saxophone, sopranino saxophone, saxello bass clarinet, flute, recorder, melodica acoustic and sampled percussion software instruments, electronics, keyboards f
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Between 1983 and 1993 my sole performing band was Hornweb Sax Quartet. During those ten years we made three albums and performed dozens of concerts. One of my favourite reviews from the time, by Ben Watson, described Hornweb as "a mixture of searing abstraction and roots". That succinct description would, I hope, apply to my music generally - although in my own case those roots are tangled, and reach down into many sources of nutrition. I've always regretted that all our recordings came from the first half of the band's life, and that later versions were never captured - it was much more difficult to make and release records back then, and perhaps the line-up changes were just too disruptive for the band ever to quite settle down in its later years.
Certainly at the time I remember wondering what the band might sound like if I were able to play all the parts myself..... Well, a quarter of a century later I've found that answer to that question. Hornweb itself came back to life in 2018 as a loosely organised and very occasional improvising group of anything up to twelve saxophonists. This recording is quite different and is one which I hope is true to the firmly AACM based concept of the original band."-Martin Archer
"[...] Apart from his work with Hornweb, Archer goes relatively unrecognised in his native country. The Discus imprint is the locus for much of his work, a one-man operation that is also open to other voices (notably collaborator Julie Tippetts and Mick Beck's trio) but used mainly for Archer's own experiments. The test question here was whether the kind of stuff that Hornweb used to do as a sax quartet, could be pulled off by a single executant. I'd say the proof is pretty evident.
There are completely unaccompanied, single-horn things like "Song For Zara Grace", but elsewhere Archer uses studio techniques to create a particularly playful and layered sound which will defeat most blindfolded listeners. The only non-original piece is Roscoe Mitchell's "Jo Jar", an intriguing choice lifted from the 1981 Sound Ensemble LP 3 X 4 Eye on Black Saint and one that I know has turned up in Roscoe's touring sets since then. It suggests a particular approach to composition, looser than is usually associated with Mitchell's non-Art Ensemble work and definitely from the funkier and more street-oriented side of things.
There are moments throughout the set when a brief snippet might lead you to think you were hearing something from John Surman's Westering Home, and that's probably as good a point of comparison as you'll find. A really intriguing record from an individual who's made some fantastic but scarcely noticed records in recent years and who is far from A. N. Other in anyone's list of significant contemporaries."-Brian Morton, Jazz Journal