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| Duos London 2001 |
| Derek Bailey |
| első megjelenés éve: 2003 |
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| (2003)
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CD |
| 6.393 Ft
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Jazz
Tracks 1 & 2 recorded by Tim Fletcher.
Track 3 recorded by Toby Hrycek-Robinson
Derek Bailey - guitar (electric)
with
Alan Wilkinson baritone saxophone & voice
Roger Turner, percussion
Julian Kytasty, bandura & flute
Track 1 & 2 - Derek Bailey electric guitar
Track 3 - acoustic guitar
Karen Brookman - Layout, Design
"I really hate the (censored). In a duo it is really horrible, he never reacts to anything you play." Since there are enough inner squabbles on the European improvised music scene, the person being quoted here will not be identified. The person being talked about, however, is guitarist Derek Bailey, presented on this disc in the company of three different duo partners. Bailey's recordings are like beautiful miniature hollyhock plants; a gardener might only plan a small patch of these, thinking that will be enough. Soon, thoughts will drift to letting them take over the whole yard. Similarly, Bailey's section might expand to take over an entire shelf if he continues finding duo partners with whom he can create such substantial musical statements. Duos, London 2001 gives us 30 minutes of playing with saxophonist Alan Wilkinson and 14 minutes each with percussionist Roger Turner and the multi-instrumentalist Julian Kytasty. It is Kytasty, a third generation performer on the Russian bandura, who takes Bailey farthest from what he has done on previous recordings, other than philosophically similar couplings with instruments such as the Chinese pipa. Wilkinson's sax can't help but recall two of Bailey's great duo partners, Anthony Braxton and Evan Parker. In some ways, this is a particularly ugly recording of the baritone sax, an effect that eventually will win the listener over. As the piece proceeds, it actually sounds like the saxophone is singing, Wilkinson continually coming up with new sounds and tones. As for Bailey, if his playing is supposedly about not listening and not reacting to the other guy, he then can be said to be doing a brilliant imitation of listening and reacting here. The music kicks off into immediate excitement with simultaneous staccato attacks. Later, the two play slowly and quietly together; they play in a fast and demented fashion together as well. Wilkinson is versatile: He uses both clear melodies and noise, and in the former case, the decisive harmonic touches from maestro Bailey show split-second thinking. With all the many hours of saxophone and guitar duo music that has been both released and tossed off into the air, why release this chunk? Because the piece, titled simply "With Alan Wilkinson" and lasting a bit longer than a television situation comedy, is stimulating from start to finish. "With Roger Turner" is guitar and drums, another familiar Bailey instrumental combination. His great duos with John Stevens, Han Bennink, and Susie Ibarra come to mind, and Turner is a player who can be discussed in such company without a second thought. Again, this is music with a great deal of interaction with mutually held decisions about dynamics and flow that arise out of thin air, and terrific use of space as well as clatter. Kyhasty, unlike Turner and Wilkinson, is not best known for playing on the free improvisation scene. He works with world music ensembles such as the brilliant Silk and Steel and performs a repertoire of traditional as well as original compositions on the bandura, an instrument that is kind of a combination of a harp, zither, and guitar. "With Julian Kytasty" is the sole track where Bailey takes out his acoustic guitar, and it is a performance of great beauty. Kytasty's playing recalls the twisted yet distinctly stringy creations of improvisers on "prepared" guitar, cello, piano, and so forth, so the resulting vocabulary can hardly be considered far afield from the normal sounds of improvised music, if such a description can be taken seriously. The slow sections of this piece make the slow sections of the other duos seem fast in comparison. It is one of those musical creations in which every sound is fraught with meaning, no matter how tiny. One of the great moments occurs following one such extended section, as both the players appear to become agitated, Kytasty finally beginning to let the full, natural sound of his instrument be heard. The resulting rush toward a vaguely East European type of harmony is exhilarating. Kytasty pulls out a wooden flute later in the piece, creating something of a trio sound as he seems to be playing both of his instruments at once. These moments bring to mind Bailey's playing in the '80s with multi-instrumentalist Wadada Leo Smith, who was also fond of wooden flutes. ~ Eugene Chadbourne, All Music Guide
Derek Bailey
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Jan 29, 1930 in Sheffield, Yorkshire, England
Died: Dec 25, 2005 in London, England
Genre: Jazz
At first glance, Derek Bailey possesses almost none of the qualities one expects from a jazz musician -- his music does not swing in any appreciable way, it lacks a discernible sense of blues feeling -- yet there's a strong connection between his amelodic, arhythmic, atonal, uncategorizable free-improvisatory style, and much free jazz of the post-Coltrane era. His music draws upon a vast array of resources, including indeterminacy, rock & roll, and various world musics. Indeed, this catholic acceptance of any and all musical influences is arguably what sets Bailey's art outside the strict bounds of "jazz." The essential element of his work, however, is the type of spontaneous musical interrelation that evolved from the '60s jazz avant-garde. Sound, not ideology, is Bailey's medium. He differs in approach to almost any other guitarist who preceded him. Bailey uses the guitar as a sound-making, rather than a "music"-making, device. Meaning, he rarely plays melodies or harmonies in a conventional sense, but instead pulls out of his instrument every conceivable type of sound using every imaginable technique. His timbral range is quite broad. On electric guitar, Bailey is capable of the most gratingly harsh, distortion-laden heavy-metalisms; unamplified, he's as likely to mimic a set of windchimes. Bailey's guitar is much like John Cage's prepared piano; both innovations enhanced the respective instrument's percussive possibilities. As a group player, Bailey is an exquisitely sensitive respondent to what goes on around him. He has the sort of quick reflexes and complementary character that can meld random musical events into a unified whole.
Bailey came from a musical family; his grandfather and uncle were musicians. As a youngster living in Sheffield in the '40s, Bailey studied music with C.H.C. Biltcliffe and guitar with George Wing and John Duarte. Bailey began playing conventional jazz and commercial music professionally in the '50s. In the early '60s, Bailey played in a trio called Joseph Holbrooke, with drummer Tony Oxley and bassist (and later renowned classical composer) Gavin Bryars. In the course of its existence, from 1963-66, the group evolved from playing relatively traditional jazz with tempo and chord changes, to playing totally free. In 1966 Bailey moved to London; there, he formed a number of important musical associations with, among others, drummer John Stevens, saxophonist Evan Parker, trumpeter Kenny Wheeler, and bassist Dave Holland. This specific collection of players recorded as the Spontaneous Music Ensemble, which served as a crucible for the sort of egalitarian, collective improvisation that Bailey was to pursue from then on. In 1968, Bailey joined Oxley -- another musician interested in new possibilities of sound generation -- in whose sextet he remained until 1973. In 1970, Bailey formed the trio Iskra with bassist Barry Guy and trombonist Paul Rutherford. Also that year, Bailey started (with Parker and Oxley) the Incus record label, for which he would continue to record into the '90s. In 1976, Bailey founded Company, a long-lived free improv ensemble with ever-shifting personnel, which has included, at various times, Anthony Braxton, Han Bennink, Steve Lacy, and George Lewis, among others.
The 1980s saw Bailey collaborating with many of the aforementioned, along with newer figures on the scene such as John Zorn and Joelle Leandre. Solo playing has always been a particular specialty, as have (especially in recent years, it seems) ad hoc duos with a variety of associates. Bailey later recorded an uncompromising three-disc set with a group that included the usually more pop-oriented guitarist Pat Metheny. Bailey's extreme radicalism makes for a difficult music, yet there's no doubting his influence; his methods and aesthetic have significantly impacted the downtown New York free scene, though many (if not most) of his disciples are little known to the general public. In 1980, Bailey wrote Improvisation: Its Nature and Practice, an informative and undervalued volume on various traditions of improvised music.
---Chris Kelsey, All Music Guide |
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