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Company: 1983 [VINYL 2 LPs] (Honest Jons Records)

Unreleased recordings from Derek Bailey's Company project, recorded at the BBC in 1983 with a stellar set of performers including Evan Parker (clarinet), Hugh Davies (electronics), Jamie Muir (percussion), Joelle Leandre (bass), J.D. Parran (winds), John Corbett (trumpet), Vinko Globokar (trombone), Ernst Reijseger (cello), and Peter Brotzmann (reeds).
 

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product information:


UPC: 769791975859

Label: Honest Jons Records
Catalog ID: HJR 215LP
Squidco Product Code: 28622

Format: 2 LPs
Condition: New
Released: 2020
Country: UK
Packaging: Double LP Sleeve
Recorded live at the BBC, in London, UK, in 1983.


Personnel:

Evan Parker-clarinet

Hugh Davies-electronics

Jamie Muir-percussion

Joelle Leandre-bass

Derek Bailey-acoustic guitar, electric guitar

J.D. Parran-sopranos, flute, clarinet

John Corbett-trumpet

Vinko Globokar-trombone

Ernst Reijseger-cello, electronic cello

Peter Brotzmann-reeds

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Artist Biographies:

"Evan Parker was born in Bristol in 1944 and began to play the saxophone at the age of 14. Initially he played alto and was an admirer of Paul Desmond; by 1960 he had switched to tenor and soprano, following the example of John Coltrane, a major influence who, he would later say, determined "my choice of everything". In 1962 he went to Birmingham University to study botany but a trip to New York, where he heard the Cecil Taylor trio (with Jimmy Lyons and Sunny Murray), prompted a change of mind. What he heard was "music of a strength and intensity to mark me for life ... l came back with my academic ambitions in tatters and a desperate dream of a life playing that kind of music - 'free jazz' they called it then."

Parker stayed in Birmingham for a time, often playing with pianist Howard Riley. In 1966 he moved to London, became a frequent visitor to the Little Theatre Club, centre of the city's emerging free jazz scene, and was soon invited by drummer John Stevens to join the innovative Spontaneous Music Ensemble which was experimenting with new kinds of group improvisation. Parker's first issued recording was SME's 1968 Karyobin, with a line-up of Parker, Stevens, Derek Bailey, Dave Holland and Kenny Wheeler. Parker remained in SME through various fluctuating line-ups - at one point it comprised a duo of Stevens and himself - but the late 1960s also saw him involved in a number of other fruitful associations.

He began a long-standing partnership with guitarist Bailey, with whom he formed the Music Improvisation Company and, in 1970, co-founded Incus Records. (Tony Oxley, in whose sextet Parker was then playing, was a third co-founder; Parker left Incus in the mid-1980s.) Another important connection was with the bassist Peter Kowald who introduced Parker to the German free jazz scene. This led to him playing on Peter Brötzmann's 1968 Machine Gun, Manfred Schoof's 1969 European Echoes and, in 1970, joining pianist Alex von Schlippenbach and percussionist Paul Lovens in the former's trio, of which he is still a member: their recordings include Pakistani Pomade, Three Nails Left, Detto Fra Di Noi, Elf Bagatellen and Physics.

Parker pursued other European links, too, playing in the Pierre Favre Quartet (with Kowald and Swiss pianist Irene Schweizer) and in the Dutch Instant Composers Pool of Misha Mengelberg and Han Bennink. The different approaches to free jazz he encountered proved both a challenging and a rewarding experience. He later recalled that the German musicians favoured a "robust, energy-based thing, not to do with delicacy or detailed listening but to do with a kind of spirit-raising, a shamanistic intensity. And l had to find a way of surviving in the heat of that atmosphere ... But after a while those contexts became more interchangeable and more people were involved in the interactions, so all kinds of hybrid musics came out, all kinds of combinations of styles."

A vital catalyst for these interactions were the large ensembles in which Parker participated in the 1970s: Schlippenbach's Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, Barry Guy's London Jazz Composers Orchestra (LJCO) and occasional big bands led by Kenny Wheeler. In the late 70s Parker also worked for a time in Wheeler's small group, recording Around Six and, in 1980, he formed his own trio with Guy and LJCO percussionist Paul Lytton (with whom he had already been working in a duo for nearly a decade). This group, together with the Schlippenbach trio, remains one of Parker's top musical priorities: their recordings include Tracks, Atlanta, Imaginary Values, Breaths and Heartbeats, The Redwood Sessions and At the Vortex. In 1980, Parker directed an Improvisers Symposium in Pisa and, in 1981, he organised a special project at London's Actual Festival. By the end of the 1980s he had played in most European countries and had made various tours to the USA, Canada, Australia, New Zealand and Japan. ln 1990, following the death of Chris McGregor, he was instrumental in organising various tributes to the pianist and his fellow Blue Notes; these included two discs by the Dedication Orchestra, Spirits Rejoice and lxesa.

Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time. Parker's first solo recordings, made in 1974, were reissued on the Saxophone Solos CD in 1995; more recent examples are Conic Sections and Process and Reality, on the latter of which he does, for the first time, experiment with multi-tracking. Heard alone on stage, few would disagree with writer Steve Lake that "There is, still, nothing else in music - jazz or otherwise - that remotely resembles an Evan Parker solo concert."

While free improvisation has been Parker's main area of activity over the last three decades, he has also found time for other musical pursuits: he has played in 'popular' contexts with Annette Peacock, Scott Walker and the Charlie Watts big band; he has performed notated pieces by Gavin Bryars, Michael Nyman and Frederic Rzewski; he has written knowledgeably about various ethnic musics in Resonance magazine. A relatively new field of interest for Parker is improvising with live electronics, a dialogue he first documented on the 1990 Hall of Mirrors CD with Walter Prati. Later experiments with electronics in the context of larger ensembles have included the Synergetics - Phonomanie III project at Ullrichsberg in 1993 and concerts by the new EP2 (Evan Parker Electronic Project) in Berlin, Nancy and at the 1995 Stockholm Electronic Music Festival where Parker's regular trio improvised with real-time electronics processed by Prati, Marco Vecchi and Phillip Wachsmann. "Each of the acoustic instrumentalists has an electronic 'shadow' who tracks him and feeds a modified version of his output back to the real-time flow of the music."

The late 80s and 90s brought Parker the chance to play with some of his early heroes. He worked with Cecil Taylor in small and large groups, played with Coltrane percussionist Rashied Ali, recorded with Paul Bley: he also played a solo set as support to Ornette Coleman when Skies of America received its UK premiere in 1988. The same period found Parker renewing his acquaintance with American colleagues such as Anthony Braxton, Steve Lacy and George Lewis, with all of whom he had played in the 1970s (often in the context of London's Company festivals). His 1993 duo concert with Braxton moved John Fordham in The Guardian to raptures over "saxophone improvisation of an intensity, virtuosity, drama and balance to tax the memory for comparison".

Parker's 50th birthday in 1994 brought celebratory concerts in several cities, including London, New York and Chicago. The London performance, featuring the Parker and Schlippenbach trios, was issued on a highly-acclaimed two-CD set, while participants at the American concerts included various old friends as well as more recent collaborators in Borah Bergman and Joe Lovano. The NYC radio station WKCR marked the occasion by playing five days of Parker recordings. 1994 also saw the publication of the Evan Parker Discography, compiled by ltalian writer Francesco Martinelli, plus chapters on Parker in books on contemporary musics by John Corbett and Graham Lock.

Parker's future plans involve exploring further possibilities in electronics and the development of his solo music. They also depend to a large degree on continuity of the trios, of the large ensembles, of his more occasional yet still long-standing associations with that pool of musicians to whose work he remains attracted. This attraction, he explained to Coda's Laurence Svirchev, is attributable to "the personal quality of an individual voice". The players to whom he is drawn "have a language which is coherent, that is, you know who the participants are. At the same time, their language is flexible enough that they can make sense of playing with each other ... l like people who can do that, who have an intensity of purpose." "

-Evan Parker Website (http://evanparker.com/biography.php)
4/6/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Hugh Seymour Davies (23 April 1943 - 1 January 2005) was a musicologist, composer, and inventor of experimental musical instruments.

Davies was born in Exmouth, Devon, England. After attending Westminster School, he studied music at Worcester College, Oxford from 1961 to 1964. Shortly after he travelled to Cologne, Germany to work for Karlheinz Stockhausen as his personal assistant. For two years, he assembled and documented material for Stockhausen's compositions and was a member of his live ensemble.

From 1968 to 1971 Davies played in The Music Improvisation Company. The group's guitarist Derek Bailey later wrote that "the live electronics served to extend the music both forwards and backwards (...) Davies helped to loosen what had been, until his arrival, a perhaps too rarified approach". He was also a member of the group Gentle Fire, active from 1968 to 1975, which specialised in the realisation of indeterminate and mobile scores, as well as verbally formulated intuitive-music compositions (such as Stockhausen's Aus den sieben Tagen) and in the performance of its own Group Compositions.

Davies invented musical instruments that he constructed from household items. Among them was the shozyg, a generic name he used for any instrument housed inside an unusual container. The name is derived from the first of such instruments, which was housed inside the final volume of an encyclopaedia (covering the subjects from SHO- to ZYG-).

From the 1960s onwards Davies made very significant contributions to the documentation of electronic music history, and in 1968 published a catalogue in which he listed - ostensibly - all the works of electronic music ever composed worldwide. It has been argued that, through his research and documentation, Davies characterised electronic music for the first time as a truly international, interdisciplinary field.

Davies was also a member of the Artist Placement Group during the mid-1970s.

Davies was the founder and first Director of the Electronic Music Studios at Goldsmiths, University of London from 1968 to 1986 and was subsequently a researcher there until 1991.

Davies had been a part-time Researcher and Lecturer in Sonic Art at the Centre for Electronic Arts, Middlesex University, London from 1999 until the end of his life."

-Wikipedia (https://en.wikipedia.org/wiki/Hugh_Davies_(composer))
4/6/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Jamie Muir (born in Edinburgh, Scotland) is a Scottish painter and former percussionist, best known for his work in King Crimson.

Muir attended the Edinburgh College of Art during the 1960s, and began playing jazz on trombone before settling on percussion.

After moving to London, Muir worked with choreographer Lindsay Kemp, and was active in free improvisation, recording, and performing with Derek Bailey and Evan Parker in The Music Improvisation Company from 1968-1971. Muir used various found objects as part of his percussion repertoire. He spoke of "approach[ing] the rubbish with a total respect for its nature as rubbish", and that "The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) - which is to give music a future". During this period he also played in the band Boris with Don Weller and Jimmy Roche (both later of jazz-rock band Major Surgery) and put in a stint with Afro-rock band Assagai in which he met keyboard player Alan Gowen. Muir and Gowen subsequently formed the experimental jazz-rock band Sunship with guitarist Allan Holdsworth and bass player Laurie Baker, although Muir has admitted that "we spent more time laughing than playing music" and suggests that the band played no gigs and got no further than rehearsals.

Muir was a member of King Crimson from mid-1972 to early 1973. With King Crimson, Muir occasionally played a standard drum kit, but more often he contributed an assortment of unusual sounds from a wide variety of percussion instruments, including chimes, bells, thumb piano, mbiras, a musical saw, shakers, rattles, found objects, and miscellaneous drums. Muir initially appeared on a single King Crimson album, 1973's Larks' Tongues In Aspic. Several live recordings featuring Muir have been released later by DGM records; the 15-CD box set released in 2012 for the 40th anniversary of the album includes every recording from that line-up, be it live or studio, documenting everything Muir has ever contributed. King Crimson violinist/keyboardist David Cross reports that "We all learned an incredible amount from Jamie. He really was a catalyst of this band in the beginning and he opened up new areas for Bill [Bill Bruford, the group's "conventional" drummer] to look into as well as affecting the rest of us."

In 1972 Muir decided to pursue a monastic lifestyle, in accordance with the strict principles of Buddhism. He left King Crimson abruptly in early 1973 and moved to Samye Ling Monastery near Eskdalemuir in southern Scotland. He had just completed his contribution to Larks' Tongues, released subsequent to his departure. The British Press at the time attributed his decision as the result of "personal injury sustained onstage during performance", a phrase attributed to the band's management company, E'G.

Jamie Muir also showed Yes's Jon Anderson about Paramahansa Yogananda's works during the wedding reception of the previous Yes drummer Bill Bruford, which ultimately led up to influencing the album Tales From Topographic Oceans by Yes, based on the Yogananda's Autobiography of a Yogi.

In 1980, Muir returned to the London music scene, recording with Evan Parker and Derek Bailey. He was also on the soundtrack of the film Ghost Dance, a collaboration with another Crimson alumnus, drummer Michael Giles and David Cunningham recorded in 1983, and eventually released in 1996.

Muir has since withdrawn completely from the music business and now devotes his energies to painting."

-Wikipedia (https://en.wikipedia.org/wiki/Jamie_Muir)
4/6/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"French double bass player (born 12 September 1951 in Aix-en-Provence, France), improviser and composer, Joëlle Léandre is one of the dominant figures of the new European music. Trained in orchestral as well as contemporary music, she has played with l'Itinéraire, 2e2m and Pierre Boulez's Ensemble Intercontemporain. Joëlle Léandre has also worked with Merce Cunningham and with John Cage, who has composed especially for her - as have Scelsi, Fénelon, Hersant, Lacy, Campana, Jolas, Clementi and about 40 composers.

As well as working in contemporary music, Léandre has played with some of the great names in jazz and improvisation, such as Derek Bailey, Anthony Braxton, George Lewis, Evan Parker, Irene Schweizer, William Parker, Barre Phillips, Pascal Contet, Steve Lacy, Lauren Newton, Peter Kowald, Urs Leimgruber, Mat Maneri, Roy Campbell, Fred Frith, John Zorn, Mark Naussef, Marilyn Crispell, India Cooke and so many others...

She has written extensively for dance and theater, and has staged a number of multidisciplinary performances. She got the DAAD at Berlin, is welcomed as artist resident at Villa Kujiyama (Kyoto). In 2002, 2004 and 2006, she is Visiting Professor at Mills college, Oakland, CA, Chaire Darius Milhaud, for improvisation and composition. Her work as a composer and a performer, both in solo recitals and a part of ensembles, has put her under the lights of the most prestigious stages of Europe, the Americas and Asia.

From 1981 to 2009, Joëlle Léandre has about 150 recordings to her credit.

-Joelle Leandre Website (https://www.joelle-leandre.com/biography/2/)
4/6/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Derek Bailey (29 January 1930 - 25 December 2005) was an English avant-garde guitarist and leading figure in the free improvisation movement.

Bailey was born in Sheffield, England. A third-generation musician, he began playing the guitar at the age of ten, initially studying music with his teacher and Sheffield City organist C. H. C. Biltcliffe, an experience that he did not enjoy, and guitar with his uncle George Wing and John Duarte. As an adult he worked as a guitarist and session musician in clubs, radio, dance hall bands, and so on, playing with many performers including Morecambe and Wise, Gracie Fields, Bob Monkhouse and Kathy Kirby, and on television programs such as Opportunity Knocks. Bailey's earliest foray into 'what could be called free improvised music' was in 1953 with two other guitarists in their shared flat in Glasgow. He was also part of a Sheffield-based trio founded in 1963 with Tony Oxley and Gavin Bryars called "Joseph Holbrooke" (named after the composer, whose work they never actually played). Although originally performing relatively "conventional" modal, harmonic jazz this group became increasingly free in direction.

Bailey moved to London in 1966, frequenting the Little Theatre Club run by drummer John Stevens. Here he met many other like-minded musicians, such as saxophonist Evan Parker, trumpet player Kenny Wheeler and double bass player Dave Holland. These players often collaborated under the umbrella name of the Spontaneous Music Ensemble, recording the seminal album Karyobin for Island Records in 1968. In this year Bailey also formed the Music Improvisation Company with Parker, percussionist Jamie Muir and Hugh Davies on homemade electronics, a project that continued until 1971. He was also a member of the Jazz Composer's Orchestra and Iskra 1903, a trio with double-bass player Barry Guy and tromboneist Paul Rutherford that was named after a newspaper published by the Russian revolutionary Vladimir Lenin.

In 1970, Bailey founded the record label Incus with Tony Oxley, Evan Parker and Michael Walters. It proved influential as the first musician-owned independent label in the UK. Oxley and Walters left early on; Parker and Bailey continued as co-directors until the mid-1980s, when friction between the men led to Parker's departure. Bailey continued the label with his partner Karen Brookman until his death in 2005[citation needed].

Along with a number of other musicians, Bailey was a co-founder of Musics magazine in 1975. This was described as "an impromental experivisation arts magazine" and circulated through a network of like-minded record shops, arguably becoming one of the most significant jazz publications of the second half of the 1970s, and instrumental in the foundation of the London Musicians Collective.

1976 saw Bailey instigate Company, an ever-changing collection of like-minded improvisors, which at various times has included Anthony Braxton, Tristan Honsinger, Misha Mengelberg, Lol Coxhill, Fred Frith, Steve Beresford, Steve Lacy, Johnny Dyani, Leo Smith, Han Bennink, Eugene Chadbourne, Henry Kaiser, John Zorn, Buckethead and many others. Company Week, an annual week-long free improvisational festival organised by Bailey, ran until 1994.

In 1980, he wrote the book Improvisation: Its Nature and Practice. This was adapted by UK's Channel 4 into a four-part TV series in the early '90s, edited and narrated by Bailey.

Bailey died in London on Christmas Day, 2005. He had been suffering from motor neurone disease."

-Wikipedia (https://en.wikipedia.org/wiki/Derek_Bailey_(guitarist))
4/6/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Chicago based John Corbett is a guitarist, turntablist, and music writer for the Chicago Reader and Down Beat magazine.

4/6/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Dutch Cellist & composer Ernst Reijseger (born 13 November 1954) is creative partner of poets, dancers, actors, painters, sculptors, photographers and film makers.

His live performances challenge expectations and are build on daring and essential communication.

Reijseger recently scored films for Werner Herzog, Alex and Andrew Smith.

Summer 2017 he scored and performed his music to Shakespeare's Hamlet (with a.o. Oscar Isaac, Keegan Michael Key and Gayle Rankin, directed by Sam Gold) at The Public Theatre in New York City.

Reijseger's musical collaborations included improvised and jazz music (Harmen Fraanje, Han Bennink, Misha Mengelberg, Steve Lacy, Uri Caine), classical and baroque music (Yo Yo Ma, Giovanni Sollima, Erik Bosgraaf, Dutch Wind Ensemble, Forma Antiqua), traditional music (Trilok Gurtu, Tenore e Concordu de Orosei, Groove Lélé, Nana Vasconcelos, A Filetta).

Reijseger's solo concerts consist of his personal compositions and improvisations.

For over ten years, Reijseger is dedicated to trio Reijseger Fraanje Sylla."

-Ernst Reijseger Website (http://ernstreijseger.com/is/)
4/6/2020

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Born Remscheid, Germany on 6 March 1941; soprano, alto, tenor, baritone and bass saxophones, a-clarinet, e-flat clarinet; bass clarinet, tarogato.

Peter Brötzmann's early interest was in painting and he attended the art academy in Wuppertal. Being very dissatisfied with the gallery/exhibition situation in art he found greater satisfaction playing with semi-professional musicians, though continued to paint (as well as retaining a level of control over his own records, particularly in record sleeve/CD booklet design). In late 2005 he had a major retrospective exhibition jointly with Han Bennink - two separate buildings separated by an inter-connecting glass corridor - in Brötzmann's home town of Remscheid.

Self-taught on clarinets, he soon moved to saxophones and began playing swing/bebop, before meeting Peter Kowald. During 1962/63 Brötzmann, Kowald and various drummers played regularly - Mingus, Ornette Coleman, etc. - while experiencing freedoms from a different perspective via Stockhausen, Nam June Paik, David Tudor and John Cage. In the mid 1960s, he played with American musicians such as Don Cherry and Steve Lacy and, following a sojourn in Paris with Don Cherry, returned to Germany for his unorthodox approach to be accepted by local musicians like Alex von Schlippenbach and Manfred Schoof.

The trio of Peter Brötzmann, Peter Kowald and Sven-Ake Johansson began playing in 1965/66 and it was a combination of this and the Schoof/Schlippenbach Quintet that gave rise to the first Globe Unity Orchestra. Following the self-production of his first two LPs, For Adolphe Sax and Machine gun for his private label, BRÖ, a recording for Manfred Eicher's 'Jazz by Post' (JAPO) [Nipples], and a number of concert recordings with different sized groups, Brötzmann worked with Jost Gebers and started the FMP label. He also began to work more regularly with Dutch musicians, forming a trio briefly with Willem Breuker and Han Bennink before the long-lasting group with Han Bennink and Fred Van Hove. As a trio, and augmented with other musicians who could stand the pace (e.g. Albert Mangelsdorff on, for example, The Berlin concert), this lasted until the mid-1970s though Brötzmann and Bennink continued to play and record as a duo, and in other combinations, after this time. A group with Harry Miller and Louis Moholo continued the trio format though was cut short by Miller's early death.

The thirty-plus years of playing and recording free jazz and improvised music have produced, even on just recorded evidence, a list of associates and one-off combinations that include just about all the major figures in this genre: Derek Bailey (including performances with Company (e.g. Incus 51), Cecil Taylor, Fred Hopkins, Rashied Ali, Evan Parker, Keiji Haino, Misha Mengelberg, Anthony Braxton, Marilyn Crispell, Andrew Cyrille, Phil Minton, Alfred 23 Harth, Tony Oxley. Always characterised as an energy player - and the power-rock setting of Last Exit with Ronald Shannon Jackson, Sonny Sharock and Bill Laswell, or his duo performances with his son, Casper, did little to disperse this conviction - his sound is one of the most distinctive, life-affirming and joyous in all music. But the variety of Brötzmann's playing and projects is less recognised: his range of solo performances; his medium-to-large groups and, in spite of much ad hoc work, a stability brought about from a corpus of like- minded musicians: the group Ruf der Heimat; pianist Borah Bergman; percussionist Hamid Drake; and Die like a dog, his continuing tribute to Albert Ayler, with Drake, William Parker and Toshinori Kondo. Peter Brötzmann continues a heavy touring schedule which, since 1996 has seen annual visits to Japan and semi-annual visits to the thriving Chicago scene where he has played in various combinations from solo through duo (including one, in 1997, with Mats Gustafsson) to large groups such as the Chicago Octet/Tentet, described below. He has also released a number of CDs on the Chicago-based Okka Disk label, including the excellent trio with Hamid Drake and the Moroccan Mahmoud Gania, at times sounding like some distant muezzin calling the faithful to become lost in the rhythm and power of the music.

The "Chicago Tentet" was first organized by Brötzmann with the assistance of writer/presenter John Corbett in January 1997 as an idea for a one-time octet performance that included Hamid Drake and Michael Zerang (drums), Kent Kessler (bass) and Fred Lomberg-Holm (cello), Ken Vandermark and Mars Williams (reeds), and Jeb Bishop (trombone). The first meeting was extremely strong and warranted making the group an ongoing concern and in September of that same year the band was expanded to include Mats Gustafsson (reeds) and Joe McPhee (brass) as permanent members (with guest appearances by William Parker (bass), Toshinori Kondo (trumpet/electronics), and Roy Campbell (trumpet) during its tenure) - all in all a veritable who's who of the contemporary improvising scene's cutting edge. Though the Tentet is clearly led by Brötzmann and guided by his aesthetics, he has been committed to utilizing the compositions of other members in the ensemble since the beginning. This has allowed the band to explore an large range of structural and improvising tactics: from the conductions of Mats Gustafsson and Fred Lonberg-Holm, to the vamp pieces of Michael Zerang and Hamid Drake, to compositions using conventional notation by Ken Vandermark and Mars Williams, to Brötzmann's graphic scores - the group employs almost every contemporary approach to composing for an improvising unit. This diversity in compositional style, plus the variety in individualistic approaches to improvisation, allows the Tentet to play extremely multifaceted music. As the band moves from piece to piece, it explores intensities that range from spare introspection to all out walls of sound, and rhythms that are open or free from a steady pulse to those of a heavy hitting groove. It is clear that the difficult economics of running a large band hasn't prevented the group from continuing to work together since its first meeting. Through their effort they've been able to develop an ensemble sound and depth of communication hard to find in a band of any size or style currently playing on the contemporary music scene."

-EFI (European Free Improvisation Pages) (http://www.efi.group.shef.ac.uk/mbrotzm.html)
4/6/2020

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track listing:


SIDE A



1. Landslide

2. Seconde Choix

SIDE B



1. First Choice

2. Pile Ou Face

SIDE C



1. JD In Paradise

2. Een Plezierig Stukje

SIDE D



1. La Horda
sample the album:








descriptions, reviews, &c.

"Wonderful, previously unreleased recordings by Derek Bailey and his guests at Company Week in 1983. What's remarkable throughout this album is the respect and affection the musicians show for each other, exemplifying the dictionary definition of "company" as "the fact or condition of being with another or others, especially in a way that provides friendship and enjoyment."

It starts with "Landslide", a brilliant, spiky, spluttering, twanging reunion of Music Improvisation Company members Evan Parker (tenor sax), Hugh Davies (electronics), and Jamie Muir (percussion). Next up, "Seconde Choix", with Joelle Leandre's close-miked prepared bass and Bailey's acoustic guitar seemingly heading in different directions before coming together miraculously in just four minutes. The opening of "First Choice", a duet between Bailey and Muir, is a revelation for those who moan that the guitarist plays too many notes. His patient and truly exquisite exploration of harmonics is beautifully counterpointed by Muir's metallic percussion.

On "Pile Ou Face" (Heads Or Tails) Davies concentrates on his high register oscillators, carefully shadowed by Parker's soprano until Leandre's deft, springy pizzicato lures them into the playground. "JD In Paradise" is a surprisingly delicate wind quartet, with John Corbett's trumpet, fragile and Don Cherry-like, punctuating the sinuous interplay between Peter Brotzmann and J.D. Parran (on sopranos, flutes and clarinet), while trombonist Vinko Globokar growls approvingly in the background.

Igor Stravinsky's magnificent definition of music as the jeu de notes comes to mind listening to Bailey's duet with cellist Ernst Reijseger (executing fiendish double-stopped harmonics with staggering ease). Technical virtuosity has never sounded so effortless -- it is, as its title "Een Plezierig Stukje" simply states, a fun piece. On the closing "La Horda", Bailey and Reijseger team up with the horns for what on paper looks like it could be rough and rowdy sextet but which turns out once more to be a thoughtful, spacious exchange of ideas, shapes, and colors."-Honest Jons

Related Categories of Interest:


Vinyl Recordings
Improvised Music
Free Improvisation
Electro-Acoustic
Electro-Acoustic Improv
Bailey, Derek
London & UK Improv & Related Scenes
Incus
Jazz Reissues
Parker, Evan
Staff Picks & Recommended Items
New in Improvised Music
Recent Releases and Best Sellers


Other Releases With These Artists:
McPhee, Joe
One Day... A Lightning Storm [10-inch VINYL]
(Sound American/Pleasure of the Text Records)
Kapsalis, Terri / John Corbett
Dead Level
(Corbett vs. Dempsey)
Bailey, Derek / Tristan Honsinger
Duo [VINYL-DAMAGED]
(Honest Jons Records)
Laboratorio Della Quercia
Laboratorio Della Quercia [VINYL 2 LPs]
(Alternative Fox)
Brotzmann / Schlippenbach / Bennink
Fifty Years After... Live at the Lila Eule 2018 [VINYL]
(Trost Records)
Company
Trios [VINYL 2 LPs]
(Honest Jons Records)
Brotzmann, Peter
Solo - I Surrender Dear [VINYL]
(Trost Records)
Brotzmann, Peter
I Surrender Dear
(Trost Records)
Company
Epiphanies VII-XIII [VINYL 3 LPs]
(Honest Jons Records)
Company
Epiphanies I-VI [VINYL 2 LPs]
(Honest Jons Records)
Company (Bailey / Honsinger / Kondon / Toop/ Cooper / Lacy / &c)
1981 [VINYL 2 LPs]
(Honest Jons Records)
Parker, Evan / Barry Guy / Paul Lytton
Concert In Vilnius
(NoBusiness)
Company (Bailey / Frith / Lewis / Parker / Oppens / Le Baron / Suzuki / Tippetts / Toshizawa / Tippett / Wachsmann)
Epiphany [VINYL 2 LPs]
(Honest Jons Records)
Music Improvisation Company, The (Bailey / Parker / Davies / Muir)
1969, 1970 [VINYL 2 LPs]
(Honest Jons Records)
Graewe, George / Ernst Reijseger / Gerry Hemingway
Concertgebouw Brugge 2014
(Fundacja Sluchaj!)
Van Hove, Fred
At 80 [3 CDs / 80 page book]
(Dropa Disc)
Brotzmann / Schlippenbach / Bennink
Fifty Years After... Live at the Lila Eule 2018
(Trost Records)
Moholo, Louis Octet
Spirits Rejoice! [VINYL]
(Otoroku)
Burn, Chris / Philip Thomas
as if as
(Confront)
Parker, Evan / Lotte Anker / Torben Snekkestad
Inference
(Listen! Foundation (Fundacja Sluchaj!))
Morris, Joe / Evan Parker
The Village
(Listen! Foundation (Fundacja Sluchaj!))
Dick, Robert / Joelle Leandre / Miya Masaoka
Solar Wind
(Not Two)
Tiger Trio (Leandre / Melford / Mitchel)
Map of Liberation
(RogueArt)
Schlippenbach Quartet
Three Nails Left [VINYL]
(Cien Fuegos)
ICP Tentet
Tetterettet
(Corbett vs. Dempsey)
Kapsalis, Terri / John Corbett
Dead Level
(Corbett vs. Dempsey)
Parker, Evan / Kinetics (Anderskove / Melbye / Vestergaard)
Chiasm
(Clean Feed)
Bailey, Derek / Han Bennink / Evan Parker
Topographie Parisienne [4 CDs]
(Fou Records)
Spring Heel Jack / Wadada Leo Smith
The Sweetness of the Water [VINYL]
(Treader)
Leandre, Joelle
Strings Garden [3 CDs]
(Listen! Foundation (Fundacja Sluchaj!))
Guy, Barry
Blue Horizon. Barry Guy@70 (Live At The Ad Libitum Festival 2017) [3 CDs]
(Listen! Foundation (Fundacja Sluchaj!))
Parker, Evan / Eddie Prevost
Tools Of Imagination
(Listen! Foundation (Fundacja Sluchaj!))
Chadbourne, Eugene / Cat Jammers
Invitation To A Jam Session [CASSETTE]
(Chadula)
Chadbourne, Eugene / Cat Jammers
Invitation To A Jam Session
(Chadula)
Frith, Fred
All Is Always Now (Live at the Stone) [3 CDs]
(Intakt)
Bailey, Derek / Tony Coe
Time [VINYL 2 LPs]
(Honest Jons Records)
Bailey, Derek & Cyro Baptista
Cyro [VINYL 2 LPs]
(Honest Jons Records)
Glasgow Improvisers Orchestra (feat. Marilyn Crispell / Evan Parker)
Parallel Moments Unbroken [2CDS]
(FMR)
Mengelberg, Misha / Peter Brotzmann / Evan Parker / Peter Bennink / Paul Rutherford / Derek Bailey / Han Bennink
Groupcomposing
(Corbett vs. Dempsey)
McPhee, Joe
One Day... A Lightning Storm [10-inch VINYL]
(Sound American/Pleasure of the Text Records)
Leandre, Joelle / Marc Ducret
Chez Helene
(Ayler Records)
Bailey, Derek / Tristan Honsinger
Duo [VINYL-DAMAGED]
(Honest Jons Records)
Bailey, Derek
Lot 74 [VINYL-DAMAGED]
(Honest Jons Records)
Leandre, Joelle
Dire du Dire
(Rectangle)
Parker, Evan
Evan Parker With Birds - For Steve Lacy [VINYL]
(Treader)
Holland, Dave Feat. Evan Parker / Craig Taborn / Ches Smith
Uncharted Territories [VINYL 3 LPS]
(Dare2 Records)
Bailey, Derek / Tristan Honsinger
Duo [VINYL]
(Honest Jons Records)
Leandre / Minton
Leandre / Minton
(Fou Records)
Maneri, Mat / Evan Parker / Lucian Ban
Sounding Tears
(Clean Feed)
Braxton, Anthony
Ensemble (Victoriaville) 1988
(Les Disques Victo)
Lazro, Daunik / Joelle Leandre / George Lewis
Enfances 8 Janv. 1984
(Fou Records)
Leandre, Joelle
No Comment
(Fou Records)
Brotzmann / Van Hove / Bennink (w/ Albert Mangelsdorff)
The End [VINYL]
(Cien Fuegos)
Black Bombaim & Peter Brotzmann
Black Bombaim & Peter Brotzmann [VINYL]
(Shhpuma)
Parker, Evan / Daunik Lazro / Joe McPhee
Seven Pieces. Live At Willisau 1995
(Clean Feed)
Kapsalis, Terri / John Corbett
Dead Level
(Corbett vs. Dempsey)
Parker, Evan / Pat Thomas / John Russell / John Edwards / Alex Ward / Alison Blunt / Benedict Taylor / David Leahy / Kay Grant
Mopomoso Tour 2013 | Making Rooms [4 CD BOX SET]
(Weekertoft)
Chadbourne, Eugene
Boogie With The Hook
(Leo Records)
Leandre, Joelle 10
Can You Hear Me?
(Ayler Records)
Spontaneous Music Ensemble
Withdrawal (1966/7)[REISSUE]
(Emanem)
Full Blast (Brotzmann / Pliakas / Wertmuller)
Risc [VINYL 2 LPs]
(Trost Records)
Full Blast (Brotzmann / Pliakas / Wertmuller)
Risc
(Trost Records)
Hawkins, Alexander / Evan Parker
Leaps in Leicester
(Clean Feed)
Brotzmann, Peter Group
Alarm (1981)
(Atavistic)
Guy, Barry / Eddie Prevost / Evan Parker / Keith Rowe
Supersession [REMASTERED, REPACKAGED, ADDITIONAL TEXT]
(Matchless)
Chadbourne, Eugene
Eddie Chatterbox: The Sound Of Genius
(Chadula)
Parker, Evan / Joe Morris / Nate Wooley
Ninth Square
(Clean Feed)
Brotzmann / van Hove / Bennink
1971
(Corbett vs. Dempsey)
ISKRA 1903 (Rutherford / Bailey / Guy)
Chapter One (1970-2) [3 CDs]
(Emanem)
Russell, John (with Phil Minton, Thurston Moore, Evan Parker, &c.)
With...
(Emanem)
Frith, Fred / Evan Parker
Hello, I Must Be Going
(Les Disques Victo)
Parker, Evan ElectroAcoustic Septet
Seven
(Les Disques Victo)
Haino, Keiji / Peter Brotzmann / Jim O'Rourke
Two City Blues PT 2
(Trost Records)
Brotzmann, Peter / Sonny Sharrock
Whatthefuckdoyouwant
(Trost Records)
Parker, Evan & Sylvie Courvoisier
Either Or And
(Relative Pitch)
Leandre, Joelle / Nicole Mitchell
Sisters Where
(RogueArt)
Yoshihide, Otomo / Sachiko M / Evan Parker / John Edwards / Tony Marsh / John Butcher
Quintet/Sextet/Duos
(Otoroku)
Bailey, Derek / Trevor Watts / John Stevens
Dynamics of the Impromptu
(FMR)
Brotzmann, Peter / Harry Miller / Louis Moholo
Opened, But Hardly Touched [VINYL 2 LPs]
(Cien Fuegos)
Parker, Evan / John Edwards / Mark Sanders
The Two Seasons
(Emanem)
Parker, Evan
The Ayes Have It
(Emanem)
Turkoz, Saadet
Marmara Sea
(Intakt)
Spontaneous Music Ensemble
Challenge (1966-7)
(Emanem)
Dalachinsky, Steve / Joelle Leandre
The Bill Has Been Paid
(Dark Tree Records)
Parker, Evan / Barry Guy / Paul Lytton
Live at Maya Recordings Festival [VINYL 2 LPs]
(NoBusiness)
Parker, Evan / Matthew Shipp
Rex, Wrecks & XXX [2 CDs]
(RogueArt)
Stevens / Rutherford / Parker / Guy
One Four and Two Twos (1978/79/92)
(Emanem)
Leandre, Joelle & Jerome Bourdellon
Evidence
(Relative Pitch)
Leandre, Joelle & Lauren Newton
Conversations live in Ljubljana
(Not Two)
Various Artists
13 Miniatures For Albert Ayler
(RogueArt)
Parker, Evan & GGRIL (Grand Groupe Regional d'Improvisation Liberee)
Vivaces
(Tour de Bras)
Foxes Fox
Live at the Vortex
(psi)
Sonore
OTO
(Trost Records)
Stone Quartet (Leandre / Campbell / Crispell / Maneri)
Live at Vision Festival
(Ayler)
Parker / Neal / Sorbara
At Somewhere There
(Barnyard)
Bailey, Derek
Live at G's Club - Barcelona Chronicles
(Incus)
Leandre / Mitchell / Van Der Schyff
Before After
(RogueArt)
Leandre, Joelle & India Cooke
Journey
(NoBusiness)
Parker / Guy / Lytton + Peter Evans
Scenes in the House of Music
(Clean Feed)
Parker, Evan / Leimgruber, Urs
Twine
(Clean Feed)
Leandre / Houle / Strid
Live at Sons D'Hiver
(Ayler)
Recommended & Related Releases:
McPhee, Joe
One Day... A Lightning Storm [10-inch VINYL]
(Sound American/Pleasure of the Text Records)
Kapsalis, Terri / John Corbett
Dead Level
(Corbett vs. Dempsey)
Bailey, Derek / Tristan Honsinger
Duo [VINYL-DAMAGED]
(Honest Jons Records)
Laboratorio Della Quercia
Laboratorio Della Quercia [VINYL 2 LPs]
(Alternative Fox)
Brotzmann / Schlippenbach / Bennink
Fifty Years After... Live at the Lila Eule 2018 [VINYL]
(Trost Records)
Brotzmann, Peter
Solo - I Surrender Dear [VINYL]
(Trost Records)
Brotzmann, Peter
I Surrender Dear
(Trost Records)
Company (Bailey / Honsinger / Kondon / Toop/ Cooper / Lacy / &c)
1981 [VINYL 2 LPs]
(Honest Jons Records)
Parker, Evan / Barry Guy / Paul Lytton
Concert In Vilnius
(NoBusiness)
Graewe, George / Ernst Reijseger / Gerry Hemingway
Concertgebouw Brugge 2014
(Fundacja Sluchaj!)
Van Hove, Fred
At 80 [3 CDs / 80 page book]
(Dropa Disc)
Moholo, Louis Octet
Spirits Rejoice! [VINYL]
(Otoroku)
Burn, Chris / Philip Thomas
as if as
(Confront)
Parker, Evan / Lotte Anker / Torben Snekkestad
Inference
(Listen! Foundation (Fundacja Sluchaj!))
Morris, Joe / Evan Parker
The Village
(Listen! Foundation (Fundacja Sluchaj!))
Dick, Robert / Joelle Leandre / Miya Masaoka
Solar Wind
(Not Two)
Tiger Trio (Leandre / Melford / Mitchel)
Map of Liberation
(RogueArt)
Schlippenbach Quartet
Three Nails Left [VINYL]
(Cien Fuegos)
ICP Tentet
Tetterettet
(Corbett vs. Dempsey)
Kapsalis, Terri / John Corbett
Dead Level
(Corbett vs. Dempsey)
Parker, Evan / Kinetics (Anderskove / Melbye / Vestergaard)
Chiasm
(Clean Feed)
Bailey, Derek / Han Bennink / Evan Parker
Topographie Parisienne [4 CDs]
(Fou Records)
Spring Heel Jack / Wadada Leo Smith
The Sweetness of the Water [VINYL]
(Treader)
Leandre, Joelle
Strings Garden [3 CDs]
(Listen! Foundation (Fundacja Sluchaj!))
Guy, Barry
Blue Horizon. Barry Guy@70 (Live At The Ad Libitum Festival 2017) [3 CDs]
(Listen! Foundation (Fundacja Sluchaj!))
Parker, Evan / Eddie Prevost
Tools Of Imagination
(Listen! Foundation (Fundacja Sluchaj!))

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