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| 4.401 Ft
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| 1. | Sheffield Phantoms
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| 2. | Playroom
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| 3. | Medicine Men
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| 4. | The Advocate
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Jazz
Tony Oxley - Artwork, Electronics, Percussion
Derek Bailey - Guitar
* John Zorn - Executive Producer
* Kazunori Sugiyama - Associate Producer
* Scott Hull - Mastering
The vast majority of The Advocate's tracks were recorded by the late Derek Bailey (guitar) and Tony Oxley (percussion and electronics) in London in 1975. John Zorn's Tzadik label is releasing this collaboration here for the first time. Oxley had recorded his sublime duo project with multi-instrumentalist Alan Davie earlier that year, and Bailey had just issued his London Concert set on Incus. Both men had been part of Barry Guy's London Jazz Composer's Orchestra and had worked together a decade before in the Joseph Holbrooke Trio with Gavin Bryars. There are three improvisations here: two of them, "Sheffield Phantoms" and "Playroom," are longer pieces clocking in at over ten minutes each, while the brief "Medicine Man" is less than three. To be fair, these are of such a piece as collective free improvisation that they were most likely part of a whole, feeling more like one extended work than three individual ones. They involve Bailey meandering around the strings, plucking, scraping, scratching and haltingly slipping around the guitar like an idea regarded as a series of possibilities more than as a single instrument to be forcefully attacked. Oxley uses the entire drum kit, as well as myriad other surfaces, as something with which to explore the essence of percussion's role in separating space more than something to merely "play" rhythmically. The final track is the title piece and was recorded by Oxley at the Barbican as a memorial to Bailey. His use of electronics ad the drum kit are more "rhythmic," but only insofar as they attempt to extend the reach of percussion as an adornment of space and as an extension of time itself. Here, at over nearly six minutes, cymbals are rung and scraped, drums are rolled on and patted, brushed and nearly caressed as Oxley'as electronic blips and samples and glitches underscore, and perhaps point to Bailey's lack of a guitar as a missing element without attempting to make up for that lack. For those who still look to this point in the mid-'70s as a pioneering moment in improvisational music, the document is more than a curiosity piece; it's a piece of found treasure.
---Thom Jurek, All Music Guide
Tony Oxley
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Jun 15, 1938 in Sheffield, Yorkshire, England
Genre: Jazz
Styles: Modern Creative, Fusion
One of the founders of jazz-based free improvisation in the U.K., from 1963-1966 Oxley was one-third of Joseph Holbrooke, a pioneering group based in Sheffield that also included guitarist Derek Bailey and (then) bassist (later composer) Gavin Bryars. The group started out as a relatively conventional jazz outfit, but by 1965 it had begun playing totally improvised pieces. The group's relative isolation from other currents in British free music -- drummer John Stevens' London-based Spontaneous Music Ensemble was a contemporary -- purportedly helped the band develop a unique approach. After the members of the band moved to London in 1967, Oxley became house drummer at Ronnie Scott's, a famous mainstream jazz club. He also continued working in experimental contexts. After winning a reader's poll in the magazine Melody Maker, Oxley was given the chance to record as a leader. His first album was The Baptised Traveler (1969); the record reflected Oxley's steadfast interest in free improv. In 1971, with Bailey and saxophonist Evan Parker, Oxley established Incus Records, which became England's premier free jazzimprov label. Oxley also worked with the London Jazz Composer's Orchestra. In the mid-'70s, he formed SOH, a trio with the saxophonist Alan Skidmore and bassist Ali Haurand; the group lasted until 1984. Over the last quarter century, Oxley has performed with many, if not most, of free jazz's leading figures. Of particular note is his work with the Feel Trio, a venture with pianist Cecil Taylor and bassist William Parker, lasting intermittently from 1988-1991. In the '90s, Oxley led and recorded with the Celebration Orchestra. He continued to play and record with a number of European new music stalwarts, including saxophonist John Surman and trumpeter Tomasz Stanko for the ECM label. In the late '90s, Oxley began playing in duo again with Bailey, renewing a partnership that exerted so much influence on the course of British experimental music. The live Triangular Screen, drawn from two different concerts, appeared from Sofa Records in 2000. Floating Phantoms arrived in 2002. Advocate, which paired Oxley with guitarist Derek Bailey, came out on John Zorn's Tzadik Records in 2007. Oxley is also an accomplished painter working in an abstract-figurative vein.
---Chris Kelsey, All Music Guide |
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