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| 3.821 Ft
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| 1. | Tickled Pink
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| 2. | Dark Black
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| 3. | Look
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| 4. | Around My Goose
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| 5. | Calm Down
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| 6. | Did You See That
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| 7. | Do the Needful
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Jazz
Henry Threadgill - Arranger, Composer, Flute, Liner Notes, Producer, Sax (Alto)
Dafnis Prieto - Drums
Dana Leong - Cello
Jose Davila - Tuba
Liberty Ellman - Guitar
* Alex Theoret - Engineer
* Bill Laswell - Mixing
* Michael Fossenkemper - Engineer
* Robert Musso - Engineer
* Seth Rosner - Executive Producer
Zooid is Henry's first all acoustic band since The Sextet, and his first band since X-75 which has focused so heavily on strings. A "zooid" is an organic cell capable of independent movement or several cells forming a colony. As always with Henry the name fits the band perfectly, and Zooid can move as a group, and then a moment later become the stage for any player’s voice to sound independently. The method of composition and improvisation is different from Everbodys Mouth’s a Book, but Up Popped the Two Lips springs from the same period of creative gestation. Zooid is a new band for Henry and that freshness helps to make Up Popped the Two Lips one of Henry’s most infectious albums yet. Under Henry’s hand the band blurs the line between folk, jazz, classical and creative music. Who knows what Zooid will be next, but here is its first form.
Henry Threadgill has made a career out of creating separate identities for the ensembles he creates to perform his music. From his early band, Air, to the legendary sextet, to Very Very Circus, Make a Move (who issued an album simultaneously on this same label), and Zoo-Id. Zoo-Id is, in a sense, a mirror image of Very Very Circus; the tunes are written for extended purposes: elongated harmonics, striking color shifts, and strident multi-dimensional textures. Threadgill plays also and flute, Liberty Ellman plays acoustic guitar, Tarik Benbrahim plays oud, and there's Jose Davila on tuba, Dana Leong on cello, and Dafnis Prieto on drums. This is a kind of chamber jazz that has its roots in the seam of Eastern and Western music. Middle-Eastern folk songs, jazz, and even Western classical music all intertwine here and are fleeced with European folk music from both sides of the continent. The opener, "Tickled Pink," makes listeners keenly aware of what Threadgill's MO is, with its crisscrossing violin and tuba lines over the angular guitar chords and Threadgill's own loping flute lines. On "Dark Block," the alto and the oud are at seemingly cross-purposes, or at least rhythm. The modal blues "Around My Goose" has elements of flamenco and Uzbekistani folk music woven through Threadgill's distinctive punchy phrasing. Finally, "Do the Needful" rings with an old-style New Orleans flair, even as it reinvents the Western harmonic line, clogging it first with a host of shifting sonorities and then with three simultaneous melody lines in differing harmonic veins. This is a fun, deft, and smart record. Threadgill is more on his game as a composer and as a bandleader than at any point in his career.
---Thom Jurek, All Music Guide
Henry Threadgill
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Feb 15, 1944 in Chicago, IL
Genre: Jazz
Styles: Avant-Garde, Avant-Garde Jazz, Modern Creative
The jazz avant-garde has produced dozens of notable improvisers (not surprisingly, since improvisation is arguably the music's defining element) but relatively few great composers. Henry Threadgill is a member of that exclusive club. With his fellow Chicagoans Anthony Braxton and Muhal Richard Abrams, he's one of the most original jazz composers of his generation. Threadgill's art transcends stylistic boundaries. He embraces the world of music in its entirety, from ragtime to circus marches to classical to bop, free jazz, and beyond. Such might sound merely eclectic in the telling, but in truth, Threadgill always sounds like Threadgill. A given project might exploit a particular genre or odd instrumentation, but whatever the slant, it always bears its composer's inimitable personality. Threadgill is also an alto saxophonist of distinction; his dry, heavily articulated manner is a precursor to that of a younger Chicagoan, the alto saxophonist Steve Coleman (no coincidence, one would suspect). Threadgill took up music as a child, first playing percussion in marching bands, then learning baritone sax and clarinet. He was involved with the AACM (Association for the Advancement of Creative Musicians) from its beginnings in the early '60s, collaborating with fellow members Joseph Jarman and Roscoe Mitchell and playing in Muhal Richard Abrams' legendary Experimental Band. From 1965-1967 he toured with the gospel singer Jo Jo Morris. He then served in the military for a time, performing with an army rock band. After his discharge, he returned to Chicago, where he played in a blues band and resumed his association with Abrams and the AACM. He went on to earn his bachelor's degree in music at the American Conservatory of Music; he also studied at Governor's State University. In 1971 he formed Reflection with drummer Steve McCall and bassist Fred Hopkins. The trio would re-form four years later as Air and would go on to record frequently to great acclaim. It's 1979 album Air Lore featured contemporary takes on such early jazz tunes as "King Porter Stomp" and "Buddy Bolden's Blues," prefiguring the wave of nostalgia which was to dominate jazz in the following decade. Threadgill moved to New York in the mid-'70s, where he began forming and composing for a number of ensembles. Threadgill began showing a love for unusual instrumentation; for instance, his Sextett (actually a septet), used a cellist, and his Very Very Circus included two tubas. In the mid-'90s he landed a (short-lived) recording contract with Columbia, which produced a couple of excellent albums. Throughout the '80s and '90s Threadgill's music became increasingly polished and sophisticated. A restless soul, he never stood still, creating for a variety of top-notch ensembles, every one different. A pair of 2001 releases illustrates this particularly well. On Up Popped the Two Lips (Pi Recordings), his Zooid ensemble combines Threadgill's alto and flute with acoustic guitar, oud, tuba, cello, and drums -- an un-jazz-like instrumentation that nevertheless grooves and swings with great agility. Everybodys Mouth's a Book features his Make a Move band, which consists of the leader's horns, with vibes and marimba, electric and acoustic guitars, electric bass, and drums -- a more traditional setup in a way, but no less original in concept.
---Chris Kelsey, All Music Guide |
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