Two Chicago compatriots--established drummer/percussionist Adam Shead and newcomer to the Chicago improvised scene, saxophonist and multi-reedist Chris Moore, in an expressive album of sax & drum interaction, thoughtful interactions in twelve succinct dialogs that focuses on the depth of their conversation through clear expression and response.
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Catalog ID: AMA033
Squidco Product Code: 30744
Recorded in Chicago, Illinois, on January 20th and 27th, 2021, by Bill Harris.
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• Show Bio for Adam Shead
"Adam Shead, who holds a BM in Percussion Performance from Columbia College Chicago, Graduate Certificate in World Performance Studies, and MM in Improvisation from The University of Michigan specializes in interdisciplinary performance, composition, and improvisation. Adam has performed at renowned music festivals such as The Chicago Jazz Festival, The Ann Arbor Edge Fest, and The Present is Present Festival in Amsterdam. Adam has performed alongside such musicians as Mary Oliver, Andrew Drury, John Dikeman, Jasper Stadhouders, Tim Daisy, Josh Berman, Ed Sarath, Dave Rempis, Ada Rave, Benny Green, and John Hollenbeck."-ArtLitLab (https://artlitlab.org/artists/adam-shead)
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1. Legahoo 1:37
2. Into A Black Mist 1:21
3. Goans and Doans 2:57
4. Shapeshifters 5:33
5. Souls Of The Wicked 4:15
6. Ageless, Restless, Wanderers 6:51
7. Covered In Bells 1:47
8. Heavy Iron Chains 3:18
9. Iron Teeth 3:53
10. Bronze Nails 2:39
11. Nine Days To Kill 1:11
12. Daevas 0:25
sample the album:
"The Flower of Paradise is a welcome addition to Shead's growing catalogue in which it is now abundantly clear that he thrives in a duo setting. This is in part due to his natural willingness to listen and breathe with another musician, let alone his innate ability to do so.
This recording introduces us to Chris Moore, a newcomer to both the Chicago improvised music scene, and to his relatively chosen mode of expression through the saxophone. He, too, acts as a natural foil in a duo setting with Shead. What we hear is a lifelong artist and listener unencumbered by the dogma of musical training, "untraining," or the all too common "Trane-ing" expected of saxophonists by listeners for decades; for better or worse (and worse still, often enough for bitter -and/or- not forward).
Shead and Moore have cultivated a friendship, interpersonally and musically, that does not bear the weight of mentor/pupil in their music. Just as Moore has taken on new territory in music after years in the plastic arts, Shead, has conversely become an active aesthetician in his own right. Is this a byproduct of their friendship fostered? Perhaps. But I don't think so. I think if any correlation is to be drawn, it is that what makes this album worth its salt is the same thing that makes a sculpture worth a passing glance: someone made this, and that alone asserts its validity."-Matt Piet
Chicago Jazz & Improvisation
Saxophone & Drummer / Percussionist Duos
New in Improvised Music
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