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Jazz / Modern Free
Avant-Garde Jazz
Recorded: December 2, 1997, Knitting Factory, New York, NYC
Daniel Carter: alto & tenor sax, ..flute, trumpet
Roy Campbell Jr: trumpet, ..flugelhorn, pocket trumpet
William Parker: bass
Rashid Bakr: drums
Matthew Shipp: piano
OTHER DIMENSIONS IN MUSIC is a collective creative improv unit featuring 4 of the most accomplished and profoundly gifted players of their respective instruments. Period. As practitioners of the fine art of lucid improvisation, they reside at the highest level. On this, the group's second AUM Fidelity album, they are joined by the equally gifted MATTHEW SHIPP. 'Time Is Of The Essence' is another fully improvised excursion actualizing what is possible with sound when masters congregate. Divine. -SJ
From the liner notes:
> I first heard the collective creative improv quartet Other Dimensions In Music at the inaugural Vision Festival in June of '96. Matthew Shipp had been speaking highly of multi-instrumentalist Daniel Carter, and suggested that bearing witness to him would probably best be accomplished within the context of this group, which also featured soul-master trumpeter Roy Campbell and Jazz family cornerstone, bassist William Parker. The way in which they navigated this night, crossing currents of high emotional intensity, and ever-shifting lyrical content, with an unyielding coherence and fluidity....well, I remember exchanging glances with Matt during the course of the performance, and immediately thereafter. Both of our jaws were dropped.
The next year, a desire from within the group was expressed to occasionally expand their sonic template by incorporating a pianist. Mutual respect and admiration led to a series of breathtaking NYC performances as a special quintet with Matthew Shipp in '97 and '98, followed by a trio of East Coast shows in Boston, Amherst and Washington DC. The sheer thrills and emotional impact of this 'instant music' were not lost on any of the audiences. Most of these concerts were taped to multi-track. My original intent for this CD was to arrange a collection of especially strong sequences from these tapes. Roy, Matthew, and myself got together for listening sessions last year. We never listened past the first couple NYC tapes. There was simply too much great music. Even limiting the eventual CD to these shows, it was proving difficult to figure how sequences could be excised. There was a stunning new surprise around each corner. In the end, it was their third communion on December 2, 1997, in its entirety, that became this CD. From the first gestures (jumping in as if they had been playing together all afternoon) to the last, this is a truly divine performance. There are many journeys taken, many songs within these 66+ minutes. In presenting one entire concert, the additional marvel of hearing all of these journeys unfold in rapid succession is also retained. An epic synaptic-cinema experience: 5 projectors in synchro, all lenses sparkling and in focus. Your mind's screen ought to be dust-free as well. The IDs included here are flags, reel changes if you will, provided for future listens in which you may not have a full hour, but need a specific dose of the decidedly diverse, and blessed bliss, provided herein.
>> It is my implicit understanding that the music contained herein is at the vanguard of the distinctly Afro-American means of expression known as Jazz. This is a language that has been updated and advanced through the work of truly original voices throughout this century, in order to retain a direct relevance to the present day. As such, I feel it represents the vanguard of organized sound as well. These five musicians belong to a group of select few who have developed and voiced the latest advances in this language with an eloquence, lucidity, and passion that is, to the point, unparalleled. When the music, as on this CD, is created without pen or paper, indeed without precognition of any kind, the absolute cogency of its rhythmic and harmonic advances is even more remarkable.
Science fact now is more astounding than science fiction. The human brain remains the ultimate supercomputer. While playing together, these musicians are plugging into the worldwide collective thereof. Their ability to tune into, and aurally recreate, complex vibrations in constant flux, is by my estimation one of the greatest wonders of the world. The history of human sound organization is part of the palette, always expanding; always available for those rare musicians who have exerted the energy and exercised the discipline required to instantaneouly plug in. This album presents more great work from some of those who have. ---Steven Joerg, Brooklyn, NYC, January 2000
Other Dimensions in Music
Active Decades: '80s, '90s and '00s
Genre: Jazz
Styles: Modern Creative, Modern Free, Free Jazz, Avant-Garde Jazz
Other Dimensions in Music first recorded in 1990 for the Swedish Silkheart label. The group played a wholly improvised music in a Cecil Taylor-derived vein; appropriate, since the band's rhythm section included Taylor-vets bassist William Parker and drummer Rashid Bakr. The band is especially notable as a vehicle for the little-recorded saxophonist Daniel Carter, a passionate and lyrical improviser who assiduously avoids taking leader credits on any of his musical ventures (it's been reported that the Silkheart record was originally conceived as his project). Issues of leadership are ultimately irrelevant in this band, however; it's a communal enterprise all the way. Carter and trumpeter Roy Campbell improvise with fire and grace within the tempestuous rhythmic framework provided by Bakr and Parker. The band played together sporadically throughout the '90s at New York's Knitting Factory and other venues. In 1998, they recorded Now! for the Aum Fidelity label, followed by Time Is of the Essence Is Beyond Time in 2000.
--- Chris Kelsey, All Music Guide |
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