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Butcher, John / Dominic Lash / John Russell / Mark Sanders: Discernment (Spoonhunt)

An album of perceptive free improvisation recorded live at London's Cafe OTO from the quartet of John Butcher on tenor & soprano saxophones, Dominic Lash on double bass, John Russell on guitar and Mark Sanders on drums & percussion, three "discerning" and one "discerned" dialogs of discriminating sophistication that only four such masterful and experienced musicians can convey.
 

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product information:


UPC: 0604565552174

Label: Spoonhunt
Catalog ID: SHCD003
Squidco Product Code: 30997

Format: CD
Condition: New
Released: 2021
Country: UK
Packaging: Cardboard Gatefold
Recorded live at Cafe Oto, in London, UK, on January 14th, 2020, by Shaun Crook.


Personnel:

John Butcher-tenor saxophone, soprano saxophone

Dominic Lash-double bass

John Russell-guitar

Mark Sanders-drums, percussion

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Artist Biographies:

"John Butcher's work ranges through improvisation, his own compositions, multitracked pieces and explorations with feedback and extreme acoustics.Originally a physicist, he left academia in '82, and has since collaborated with hundreds of musicians - Derek Bailey, John Tilbury, John Stevens, The EX, Akio Suzuki, Gerry Hemingway, Polwechsel, Gino Robair, Rhodri Davies, Okkyung Lee, John Edwards, Toshi Nakamura, Paul Lovens, Eddie Prevost, Mark Sanders, Christian Marclay, Otomo Yoshihide, Phil Minton, and Andy Moor - to name a few.

He is well known as a solo performer who attempts to engage with the uniqueness of place. Resonant Spaces is a collection of site-specific performances collected during a tour of unusual locations in Scotland and the Orkney Islands.His first solo album, Thirteen Friendly Numbers, includes compositions for multitracked saxophones, whilst later solo CDs focus on live performance, composition, amplification and saxophone-controlled feedback.

HCMF has twice commissioned him to compose for his own large ensembles. Other commissions include for Elision (Australia), the Rova (USA) & Quasar (Canada) Saxophone Quartets, reconstructed Futurist Intonarumori (USA), "Tarab Cuts" (based on pre-WWII Arabic recordings, and shortlisted for the 2014 British Composer's Award) and "Good Liquor .." for the London Sinfonietta. In 2011 he received a Paul Hamlyn Foundation Award for Artists.

Recent groupings include The Apophonics with Robair and Edwards, Anemone with Peter Evans, Plume with Tony Buck & Magda Mayas and a trio with Okkyung Lee & Mark Sanders.Butcher values playing in occasional encounters - ranging from large groups such as Butch Morris' London Skyscraper and the EX Orkestra, to duo concerts with David Toop, Kevin Drumm, Claudia Binder, Paal Nilssen-Love, Thomas Lehn, Fred Frith, Keiji Haino, Ute Kangeisser, Matthew Shipp and Yuji Takahashi."

-John Butcher Website (http://www.johnbutcher.org.uk/Biog.html)
10/20/2021

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

"Born Cambridge, England, in January 1980; played bass guitar since 1994; studied with Hugh Boyd and Pascha Milner and at Basstech (London) with Rob Burns, Terry Gregory and others. Played double bass since 2001; basically self taught, with grateful thanks to Simon H. Fell. First class BA in English Literature from Oxford University (2002). Received MA Composition from Oxford Brookes University in 2003, having studied with Paul Whitty, Ray Lee and others. Received PhD from Brunel University in 2010, having studied the work of Derek Bailey, Helmut Lachenmann and JH Prynne and been supervised by Richard Barrett and John Croft."

-Dominic Lash Website (http://dominiclash.blogspot.com/p/dominic-lash_5.html)
10/20/2021

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

"John Russell got his first guitar in 1965 while living in Kent and began to play in and around London from 1971 onwards. An early involvement with the emerging free improvisation scene (from 1972) followed, seeing him play in such places as The Little Theatre Club, Ronnie Scott's, The Institute of Contemporary Arts, The Musicians' Co-Op and the London Musicians' Collective. From 1974 his work extended into teaching, broadcasts (radio and television) and touring in the United Kingdom and, ever extensively, in other countries around the world . He has played with many of the world's leading improvisers and his work can be heard on over 50 CDs and albums. In 1981, he founded QUAQUA, a large bank of improvisers put together in different combinations for specific projects and, in 1991, he started MOPOMOSO which has become the UK's longest running concert series featuring mainly improvised music."

-John Russell Website (http://www.john-russell.co.uk/biography/)
10/20/2021

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

"Mark Sanders has played with many renowned musicians including Roscoe Mitchell, Wadada Leo Smith, Derek Bailey, Henry Grimes, Roswell Rudd, Peter Brotzmann, Barry Guy, Otomo Yoshihide, Jah Wobble, Sidsel Endresen , Charles Gayle, Peter Evans and William Parker. He works with John Edwards in a duo and with groups including Evan Parker, `Foils` with Frank Paul Schubert and Matthius Muller and groups with Veryan Weston, John Tilbury, Agusti Fernandez and Mathew Shipp. Mark works in a regular improvising duo with John Butcher and also performing John`s composition `Tarab Cuts` which has played festivals in Rio de Janiero, Amsterdam, Barcelona, Glasgow, Bristol and London. In a trio with cellist Okkyung Lee, John and Mark have played in Belgium, France, England and Scotland. He also has a longstanding duo with Sarah Gail Brand which has featured on the BBC`s `The Stuart Lee Show`and in the film `Taking the dog for a Walk`.

He has performed solo for a Christian Marclay exhibition at The White Cube Gallery in London, Evan Parker`s festival`Unwhitstable` in Wroclaw, Poland for `Solos Festival` The 100 Years Gallery London, an improvised music series in Derby and Cafe Oto in London. Working with Christian Marclay in his `Everyday` piece for film and live music, he has performed in Aldeburgh, Ruhr Trienalle, Vienna Bienalle, Holland festival and London`s QEH and has also collaborated with him playing for the film `Screenplay`in London and Lisbon. In situations using composition in one form or another Mark works in various projects including `13 Vices` with Brian Irvine/Jennifer Walshe, Alex Hawkins Ensemble featuring Peter Evans, Simon Fell Ensembe, groups with Hasse Poulsen and Luc Ex , Sarah Sarhandi`s `Both Universe`, Elaine Mitchener`s `Sweet Tooth` and has played in the groups of Shabaka Hutchings including`Sons of Kemet` Conceptual Artist Sam Belinfante collaborated with Mark in his piece `On the One Hand, and the Other` in two exhibitions at Camden Arts Centre, London For Conceptual artist Henrik Hakensen`s film `The End` he has performed as an improvising soloist with orchestras conductedd by Jessica Cottis, playing the music of John Coxon in Glasgow, Sydney and Monte Carlo As a guest with New York`s ICE Ensemble he has performed John Zorn`s `The Tempest` in London and at Huddersfield New Music Festival.

Mark also works in the groups of Paul Dunmall including Deep Whole Trio with Paul Rogers, in duo and `Frisque Concordance` with Georg Graewe , and the ensembles of Mikolaj Trzaska, Uwe Oberg and Peter Jaquemyn. He has performed in the USA, Canada, Brazil, Japan, Morrocco, South Africa, Australia, Mozambique and Turkey, playing at many major festivals including Nickelsdorf, Riga, Ulrichsburg, Glastonbury, Womad, Vancouver, Isle of Wight, Roskilde, Berlin Jazz days, FMP, Mulhouse, Luz, Minniapolis, Banlieue Bleues, Son D`hiver and Hurta Cordel."

-Mark Sanders Website (http://www.marksanders.me.uk/biography.html)
10/20/2021

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


1. discerning 1 08:29

2. discerning 2 07:13

3. discerning 3 06:48

4. discerned 17:13
sample the album:








descriptions, reviews, &c.

"A memory trick. Experiencing playback of a half-forgotten evening of live music, witnessed as a scene set in darkened space, spiked by a sustained projection of thought-in-train. There is a loose plasticity to this effect, one that demands cinematic form, as everything is faded up from blackness, silence, one spectre happening now, another having occurred then, forming a sequence that blends flashback with the intent presence of the moment. Always subject, behind the eyelids in the ever-dark skull, to loss, waking from the spell, coming to light. Duality of performance, set in real time when the world was open, unconcerned, another as a mode of listening months hence, closed up in quarantine.

The dream effect is Doppler. First thoughts then upon waking then, Where am I? seemingly we reside in an industrialised form of nature, yes, hearing bells, hum of infrastructure, unidentified birds hooping over a sharp shoulder of an edifice long standing. Our duplex film begins slowly, in breathy exhalations, tight with thought, smatterings of labour, yes, echo-locating percussive dashes, fingers fiddling with small details, still able to coast the rising swells of broader sound. We're waking up in a specific environ here, beyond the concert venue, extra to the recording, far from chill Dalston evening, faint rain, plastic lettering, the market place half cleared. Slowly the scenario comes into points, wooden surfaces pecked by metallic shards, tracing tree grains under the fingertips, tight coils of brass string over taut bellows, the sliding slip of an upper register softened with the beginnings of sweat. Sounds rustle upward, broken perceptions, keen, stretching tacit yet wry lubrication from deep sobriety. Rising seamlessly into intensifying violence, illicit bells outside the waking room, or the body adjusting to its own wakefulness, its hidden, un-mastered fluids, air pockets, pops and clicks, Wake! Wake! The body precedes you.

Proceed with just these available senses, all forever entangled, as they begin to converse, and to sense their own environs, light beginning to feed itself, as if to ask, what is this gathering information, some kind of shared substance coming to form, a particular décor, detail, as we hear these musicians, as sets of circumstances, laugh, speak, point to something, lean into one another, bristle into opposing modes, yep, that gesture unhinged, that slice humble, then going into looser-mouthed slurps lurching as grotesque, leaps in and bounds. A particular arrangement of elements, already prompting a running commentary beyond this one, a singular phrase wedged into mud, or sand, a cold cymbal flush pricked by pinched fingers (of which you can hear the shape, clusters over a fret gap) picked up and planted elsewhere, rapidly excised, caught on, before coming to rest on a misty bed always already set beneath it. Wake! There a percussive hint of absent piano, the sound not stopping now, unable to come to rest here, now, no not on your life, this chase scene or something set on a dolly, pulling with and against the camera, cursor, crosshair, pinched eardrums, able to push off faraway in a leap, before pressing to a cumulative tone of wayward thought, not desire-less but without external object, a least for a moment, then sophisticated pseudo-sentimental, picked apart like fruit, peeling back to leave a tumbling guitar lamenting dryly, cupping its own voice off here and there, swilling a perception of the space, an amplified signal, architecture swamping a concord. Get the drama of this.

A scorched earth sample, as a phrase sweeps like an Aloha! and a saxophone that ripples pure through a room segment, only for a frequency edge to be sheared off by an eraser tool tongue, impressing a harmonic wake, leaving an unavailing chord to hang, waiting for the consistency to be available for a WAIL, ripening aggression that is not anxious but joyous, reeling a Fragonard swing lozenged by Cezanne, a faint rotunda structure revolving, bass notes stepping down and around a tight whorl of inner sound, coordinates quickly drawn, distress marks, hooks for future returns, editing leaps. A mobile sequence, pitch dark forest, far beyond any Uccello-recession, thick with hidden trees that can be continually strung over a sound hole, every flicker of the needle thus responsive, an emanation that now invokes the cellular, whilst an overtone rises to the beams with a kettle whistle. We take in these shifting scenes as a cinematic bloom, forming, forming, as we would with an introduction to a world fully new, first-forming from unfamiliarity, Where am I? Wake! Wake! rose light seeping into a sleeping ear, seeming upright before slanting off into regularity, pooling flow.

On a focus pull, a character suddenly separates from the celluloid, screen-less, sucking on a hissing mouthpiece. All this is being formed now, not quite in memory and not fixed as a recording. Not cinema either, but unfamiliar life, switching up, blowing, pulling, shared substance, soft forms billowing together under hard ceilings, lived and recalled in extracted moments of pressurised beauty, the tense rigging of harmonic structure manoeuvred bodily out of space - Up like smoke! - inside out too, switching registers as easy as the light, jump-cuts, renewed positions, forming the substance of the music itself."-David Stent

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