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| 1. | Entrances/One
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| 2. | Constellations for Innerlight Projections (For Bill Dixon)
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| 3. | Entrances/Two
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Jazz / Free Jazz, Avant-Garde Jazz
Bill Dixon - Trumpet, Back Cover, Tray Card Art, Composer, Cover Painting
Damon Locks Vocals
Greg Norman Engineer
Jason Adasiewicz Tubular Bells, Vibraphone
Jason Ajemian Double Bass
Jeb Bishop Trombone
Jeff Parker Guitar
Jim Baker Piano
John Herndon Drums
Josh Berman Cornet
Mark Mazurek Photography
Matt Bauder Sax (Tenor), Clarinet (Bass)
Matthew Lux Guitar (Bass)
Mike Reed Drums, Tympani [Timpani]
Nicole Mitchell Flute, Vocals
Rob Mazurek Composer, Cornet
Sheila Sachs Design
Rob Mazurek (cornet) is a prime figure in the vibrant Chicago sound scene, having performed in Chicago Underground, Isotope 217, and Mandarin Movie. Exploding Star Orchestra is his latest project. This is the group's second album and the first to feature free jazz legend Bill Dixon (trumpet), whose career has spanned over 40 years. He's played with the likes of Archie Shepp, Cecil Taylor, and William Parker. Also featured are John Herndon and Jeff Parker (Tortoise), Nicole Mitchell (Frequency), Matthew Lux (Isotope 217), Damon Locks (The Eternals), and many of Chicago's most exciting improvisers.
A live-in-the-studio recording documenting the material debuted at a 2007 Chicago gig by free jazz legend Bill Dixon and fellow trumpeter Rob Mazurek's current group the Exploding Star Orchestra, this set consists of Dixon's two-part "Entrances" and Mazurek's "Constellations for Innerlight Projections (For Bill Dixon)." Dixon's piece, which bookends Mazurek's, begins with a drum part somewhere between a martial stomp and a New Orleans second-line band, over which Dixon and Mazurek trade phrases, before drifting off into a contemplative murmur with solo parts that only occasionally rise above a quiet hum. Rarely has a 13-piece band played at a lower decibel count. Mazurek's 24-minute concerto opens with a poetic recitation by Damon Locks of the post-rock/jazz combo The Eternals then moves through several distinct sections ranging from washes of glitchy laptop noise (according to the liner notes, Mazurek's original intention for the piece was much more electronic in nature) to near-atonal unaccompanied solos by Dixon to full-band swing recalling Sun Ra's Arkestra to a simply lovely section beginning around the 14-minute point with flute, vibraphone and gongs playing a pretty, cyclical melody that sounds rather like one of Moondog's canons and, unexpectedly, a bit like Chicago's "Color My World." "Entrances" returns to close the set with little more than a pleasant reiteration of the original piece, taken at a slightly faster tempo in spots and featuring some longer and more expressive solos. Joining the regrettably small discography of studio recordings featuring Dixon (a founder of the Jazz Composers Alliance who left the New York free jazz scene to teach composition at Bennington College in Vermont for decades), Bill Dixon with Exploding Star Orchestra is a free-improv delight making plain the links between the original scene and the contemporary Chicago post-rock school. The album cover features an excellent painting by Dixon as well. ~ Stewart Mason, All Music Guide
Bill Dixon
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Oct 05, 1925 in Nantucket, MA
Genre: Jazz
Styles: Avant-Garde, Free Jazz, Avant-Garde Jazz
One of the seminal free jazz figures, Dixon's made his mark as a player, organizer, and educator in a career that's spanned more than 40 years. Dixon is a jaggedly lyrical trumpeter -- his delivery is as vocalic as that of any free jazz trumpeter except perhaps Lester Bowie. As an improviser, he's somewhat similar in temperament to Ornette Coleman, yet his compositional style differs greatly from the altoist. Dixon's work features open space, wide intervals that do not imply a specific key or mode, and dark backdrops owing to the use of two or more double bassists. His art is eminently thoughtful even as it can be viscerally exciting.
Dixon grew up in New York City. His first studies were in painting. He didn't become a musician until he was discharged from the Navy following World War II. Dixon met Cecil Taylor in 1951 and the two began playing together, along with other like-minded young musicians. In the early '60s, he formed a quartet with saxophonist Archie Shepp. The band recorded the self-titled Archie Shepp-Bill Dixon Quartet LP for Savoy in 1962 (Dixon was briefly the artistic director in charge of jazz for the label). In 1964, Dixon organized the October Revolution in Jazz, a festival of new music held at the Cellar Cafe in Manhattan. About 40 groups played, including the cream of the era's free jazz crop. Out of this grew the Jazz Composer's Guild, a musician's cooperative founded in 1964 that included Dixon, Shepp, Roswell Rudd, Cecil Taylor, Paul Bley, and Carla Bley, among others. In 1967 he recorded an album of his music for RCA. Also that year, he founded the Free Conservatory of the University of the Streets, a music education program for inner-city youth in New York. Beginning in 1968, Dixon taught at Bennington College in Vermont. He was a visiting faculty member at the University of Wisonsin in 1971-1972, then returned to Bennington, where in 1973 he founded the Black Music division. At Bennington, Dixon mentored a number of contemporary free jazz musicians, including alto saxophonist Marco Eneidi and drummer Jackson Krall. Dixon remained at Bennington until his retirement from teaching in 1996. In the intervening years, Dixon conducted workshops and master classes around the world. A collection of his work from 1970 to 1976 is available on the Cadence label. From 1980 on, he has recorded and performed, more-or-less infrequently, for Soul Note.
---Chris Kelsey, All Music Guide |
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