Exploring the jazz tradition through 12 tone serial tone row scales, along with graphic scores & other variations, from UK composer Trevor Taylor, also on drums & vibraphones, in a quintet with Shanti Paul Jayashina on trumpet, Josh Ison on saxophones, Dan Banks on piano, and Jose Canha on Double Bass, in a set of tunes that beautifully balance freedom and lyricism.
"Rare though they are, this is not the first 12 tone music group I've been involved with In the late 70's I was lucky enough to be in a wonderful trio containing some superb local musicians, featuring the truly wonderful John Mole on double bass and the amazing alto sax playing of Jim Liversy.
We (only just) held down a Wed night residency at the Red Lion in Margaretting, I say only just as if we craftly ventured off standards to do some of Jim's great compositions there would come a loud roar from behind the bar ....'too hairy!' it was Hazel the Landlady 'far too hairy'!
To make matters worse our audacity would be rewarded by being demotted to just one skimpy round of sandwiches in the interval! (you didn't mess with Hazel)
Not that she knew a crochet from a hatchet (as my old drum teacher Reg Williams used to say), let alone 12 tone music. But if it sounded stange it must be bad, and that could frighten off the three punters ignoring us in the other bar,,,,,,,,,,,,,,,,,,, Fast forward 50 years
The music here though is not all based on 12 tone serial tone rows Some pieces like 'Graphon' are purely graphic and are 'interpreted' by the ensembleOthers like 'Akrahta'. 'Xi', 'Nomos' and 'Delphini' combine traditional 12 tone technique with free improv
While the short canon like piece 'Tanzino' is composed traditionally using both forward, retrograde and inverted rows
As with much of my music I try to fuse a level of form and improvisation Constantly varying the border, where hopefully the music morphs seemlessly from one to the other
Straight ahead jazz is also present, as all the group play regulary in more formal jazz environmentsHere, instead of traditional chords to solo over, the root note of the chord is each sequentional note of the tone row, and the musicians improvise the content and 'shape' of the chord as the music develops
'Graphon' is graphic music written using my version of space notation, a system that shows time passing in a more natural way. The music looks as you might visualise it and I believe is more intuitive
The pitches are shown vertically on one large stave as they ascend with no sharps or flats as there is no key signature. The lowest playable note for the particular instrument is shown at the bottom and the highest at the top of the stave, Instead of say pp, mf etc for the dynamics of a note, a round solid circle shows by its size it's value (as its size increases the note is to be louder.)
If the note is to be sustained the circle has a tail equal to the required duration'this system can be just as accurate as conventional notation when a grid is overlaid so pitches sit on one massive ledger line, but for a hybrid system interesting results can be achieved without it, where the player interprets the pitch position and duration, and this is the system we used here in for this recording
Graphon' is like a number of pieces I have written and recorded in other musical situations in the past
Space notation in not new, it emerged in various forms by composers like John Cage etc in the 60's where composers simply could not get the results they wanted with conventional notation
The system excels when the composer wishes to escape the cliches of repetitive pulse and the need for time signatures found in conventional music. You could say that Space notation is more intuitive because it 'looks ' as it actually sounds."-Trevor Taylor