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| 5.686 Ft
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| 1. | Hope a Hope a
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| 2. | Unrealistic Love
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| 3. | Drivin' You Slow and Crazy
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| 4. | Bee Dee Aff
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| 5. | First Church of This
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| 6. | Exacto
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| 7. | In the Ring
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Jazz / Avant-Garde, Avant-Garde Jazz
Henry Threadgill - Flute, Producer, Cover Design, Sax (Alto)
Brandon Ross Guitar (Electric)
Curtis Fowlkes Trombone
David Stone Engineer, Producer, Mixing
Edwin Rodriguez Tuba
Gene Lake Drums
Gennaro Carone Mastering
Giovanni Bonandrini Executive Producer
Jeff Lippay Assistant Engineer
Jules Allen Photography
Kevin Whitehead Liner Notes
Marcus Rojas Tuba
Masujaa Guitar (Electric)
Vittorio Zammarano Mixing Assistant
After trailblazing stints with the avant-garde jazz trio Air in the '70s and his seven-piece sextet in the '80s, Henry Threadgill changes direction once again with a two tuba, two guitar, trombone, and drums outfit he calls Very Very Circus. Threadgill's layered, idiosyncratic compositions still abound, but as one would expect from a front line like this, the sound is darker and more dense than on prior releases. The new approach is especially evident in the thick mix of reverb-riddled guitar notes, rumbling tuba phrases, and march rhythms heard on numbers like "Drivin' You Slow and Crazy," "Bee Dee Aff," and "Unrealistic Love." Threadgill does lighten the tone, though, by including the Calypso-inspired number "Hope a Hope A" and intricately buoyant themes like "Exacto" and "In the Ring." Standout contributions include Masujaa's mercurial guitar solo on "Unrealistic Love," Threadgill's haunting flute work on "First Church of This," and drummer Gene Lake's supple and tight rhythmic support throughout. Another excellent title from one of jazz's most progressive and original artists. ~ Stephen Cook, All Music Guide
Henry Threadgill
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Feb 15, 1944 in Chicago, IL
Genre: Jazz
Styles: Modern Creative, Avant-Garde, Avant-Garde Jazz
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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