Two thirds of the free jazz group "Boom Box"--saxophonist Thomas Borgmann and drummer Willi Kellers--and referencing that band's 2011 album titled Jazz, Keys & Screws is rounded out as a trio with double bassist Jan Roder, following the format of Jazz with compositions from each player following head/solo format, fueled by each player's extensive experience.
Format: LP Condition: Sale (New) Released: 2020 Country: Lithuania Packaging: LP Recorded in New York City, New York, on October 16th, 1994, by Steve Guttenberg.
"I do not know if DUX Orchestra was an established orchestra, or if this was an "ad hoc" ensemble with some of the freshest freejazz musicians who were about to become "big" at the time the record was recorded. But no matter where it was or was not, we get three relatively long "stretches" composed (?) By guitarist JC Morrison and arranged (?) By him and baritone saxophonist Dave Sewelson. "Happening" was recorded in an attic in New York City on October 19, 1994, so there is no new recording we get to be part of. Together with Sewelson and Morrison, we meet baritone saxophonist Mads Gustafsson, alto clarinetist Will Connell jr., Bassist Dave Hofstra and drummers Susie Ibarra and Walter "Sweets" Perkins.
In the 90's, Morrison worked closely with Sewelson for a while, and to use Morrison's own words on the collaboration, it was "free music with edges of punk and" folk "music, as I like to explain it". Morrison at the time played relatively frequently with bassist William Parker and Susie Ibarra at clubs and cafes in the East Village, New York, and he says they once played in a country & western bar, where they cleaned the venue in five minutes. . And about the recording that is now "multiplying" through the stereo, he says: "I had ambitions. and one of them was an orchestral arrangement. it was recorded by Steve Guttenberg at a now forgotten Chelsea loft, and ended with the neighbors beating on the doors. that is actually on the recording. Well, it was lost! when i lost my loft. Until a safety copy came to light last year ".And here we get the result of this meeting, which the neighbors were not exactly over-enthusiastic about.
We get three relatively long, freely improvised "stretches", with the titles "Duck Walks Dog", "Mixed Results, Part I" and "Mixed Results, Part II". And all the way, this is energetic freejazz as we know it from several recordings with Mats Gustafsson after this. It is clear that this recording, and this time, has made an impression on the musicians who appear on the record. We recognize a lot of the aftermath that has come on countless records and concerts with Mats Gustafsson and his many different projects. The same can almost be said about the drummer Susie Ibarra, although in recent years she has gone in a more "searching" direction. And Hofstra has long been a bassist who has enjoyed himself to a great extent in this musical landscape.
What strikes me most about the record is the interaction between Sewelson and Gustafsson, with Connell jr. as a good "pusher". It is almost impossible to distinguish between the two baritone saxophonists, for they both make a persistent effort to "straighten" the great horn. They function almost like Siamese twins throughout the three songs, and behind them are the two drummers and all the way "push" and push the saxophonists and clarinetist forward. Occasionally, especially at the start of the second track, Morrison excels with fine riff-based guitar playing over the drummers' "cook", before the saxophonists come in and want to be on the show.
Because it's a show we get to be part of. It is energetic and free, even if it never gets out of control. And all the way, I think this is music that creates energy, not only with the musicians, but also with us as listeners. A lot of inspiration is probably taken from a number of other free-ranging musicians who were important in the design of the energetic free jazz at the time, and which several of these musicians have developed further since 1994. And something particularly tougher music than this, you simply do not get within today's jazz.
It's probably not the easiest thing in the world to let "The Duck Walk The Dog", which comes out well in the title track, and the following two songs, which describe how it goes when you let a duck go for a walk with the dog, do not result in a successful result in either of the two "stretches". Most listeners might argue that it changes in chaos, but for those of us who have been following this music for a long time, might think otherwise. It must have been an extremely exciting trip anyway. For this has become a delicious, free-flowing, energetic, vital and exciting recording, where all the musicians who were in the attic of Manhattan, delivered great art that, at least I, am very happy that is now out on record. And many thanks to NoBusiness Records who have finally released this music. Then the neighbors, both in Manhattan,those in Frederiksberg in Denmark and all the other places the music will be played, think exactly what they want!"-Jan Granlie, Salt Peanuts (translated by Google)