The duo of Paul Abbot on drum kits, percussion & computer, and Seymour Wright on alto saxophone and feedback, in a massive edge-of-your seat live recording from London's Cafe Oto in 2015, a mix of brutal and beautiful playing with unexpected and surprising twists.
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Label: Pleasure of the Text Records
Catalog ID: POTTR1306
Squidco Product Code: 22367
Packaging: Cardboard Gatefold 3 Panels
Recorded live at Cafe Oto in London, England, on November 24th, 2015 by James Dunn.
Seymour Wright-alto saxophone,feedback
Paul Abbott-drum kits, percussion, computer
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• Show Bio for Seymour Wright
"Seymour Wright - saxophonist, investigator, artist - lives in London. His practice is about the saxophone - music, history and technique - actual and potential; an on-going, rigorous and exhaustive exploration of the instrument. The energy of this learning is applied to various collaborations and contexts to access/share what he has called the 'awkward wealth of investigation'. His work is documented on two widely acclaimed self-released collections Seymour Wright of Derby (2008) and Seymour Writes Back (2015). As well as STEPS, his current collaborations include lll人 (with Daichi Yoshikawa and Paul Abbott), GUO (with Daniel Blumberg) and XT (with Paul Abbott)."-Cafe Oto (https://www.cafeoto.co.uk/artists/seymour-wright/)
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1. Pah' 1:19:01
sample the album:
"Pah' is a monolithic document of the shared improvisational language of saxophonist Seymour Wright and percussionist Paul Abbott, also known as XT. One piece, just under eighty minutes long, begins in the well-traveled territory of contemporary free-jazz, with Wright and Abbott falling into a supersonic velocity that they don't give up until a strange English folk music marks the end of their set; the audience clearly taking a second to register the proceedings.
Recorded live in 2015 at London's Cafe Oto, the duo almost immediately ejects/(r)ejects the typical free jazz tropes as Abbott and Wright spin off into conflicting repetitions and cycles, only to morph and move again just at the point that the listener becomes comfortable. The addition of Wright's use of feedback and Abbott's heavily deconstructed electro-dance textures takes Pah' from elegantly brutal blow out to truly 21st century music, and fits perfectly into the experimental formal and timbral languages of label mates Nate Wooley and Paul Lytton."-Please Of The Text
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