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| 17 Musicians in Search of a Sound: Darfur - In Concert at Vision Festival XII |
| Bill Dixon |
| első megjelenés éve: 2008 |
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| (2008)
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CD |
| 4.140 Ft
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| 1. | Prelude
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| 2. | Intrados
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| 3. | In Search of a Sound
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| 4. | Contour One
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| 5. | Contour Two
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| 6. | Scattering of the Following
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| 7. | Darfur
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| 8. | Contour Three
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| 9. | Sinopia
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| 10. | Pentimento I
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| 11. | Pentimento II
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| 12. | Pentimento III
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| 13. | Pentimento IV
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Jazz
Bill Dixon - Trumpet, Producer, Conductor, Cover Art
Andrew Raffo Dewar Sax (Soprano)
Dick Griffin Trombone (Tenor)
Graham Haynes Flugelhorn, Cornet
Jackson Krall Percussion, Drums
John Hagen Sax (Tenor), Sax (Baritone)
Joseph Daley Tuba
Karen Borca Bassoon
Michel Cote E Flat Clarinet
Nick Lloyd Mastering, Mixing
Nick Ruechel Photography, Cover Photo
Stefan Heger Engineer
Stephen Haynes Flugelhorn, Orchestral Coordinator, Cornet, Production Coordination
Steve Swell Trombone (Tenor)
Taylor Ho Bynum Flugelhorn, Cornet
Will Connell Jr. Clarinet (Bass)
As Bill Dixon's recordings are few and far between, there must also be a profound theme that inspires his music. In this instance, the horrific and under-publicized military-driven genocide in Darfur brought him to make music on the stage of the Vision Festival XII in New York City with a 17-piece band to reflect the anguish and turmoil of the strife-stricken area in the West Sudan region of Africa. But this is not an angry or disgusted expressionistic music, but one that reflects the distant outcries of the people in Darfur who need help from the world community. Dixon, on lead trumpet and as conductor, has formed a band of such mighty improvisers as Taylor Ho Bynum, veteran multiphonic trombonists Dick Griffin and Steve Swell, Karen Borca, J.D. Parran, Jackson Krall, and Warren Smith with a handful of lesser-known creative musicians. The trumpet section with Bynum, Graham Haynes, and Stephen Haynes is most impressive, as are the low-end woodwinds like bass saxophonist Parran, bass clarinetists Will Connell and Michel Cote, bassoonist Borca, and tenor and baritone saxophonist John Hagen. Dixon uses many long tones, swells, and fades throughout the program. The 23-and-a-half-minute "Sinopia" (interesting title) has the instrumentalists assimilating vocal sounds, at times guttural or whimsical, then mysterious, chortling, or inquisitive, held in check within a mezzo forte or lower range. The four-part "Pentimiento" is as brief as "Sinopia" is longwinded, using longer, quicker, and louder tonalites. "In Search of a Sound" may reflect the lack of information coming from Darfur, manifested in more deliberate and dramatic elongated phrases, with short splatters from various bandmembers, and Dixon discoursing with the bass clarinet. "Darfur" is ominous, as you might expect, with timpani signifying a march or maybe an alert signal prior to pained objections turned into a multiplied and articulated instrumental chorale. Borca's bassoon and Smith's vibes dance with Joe Daly's tuba in a stripped-down smaller ensemble during the interplay of "Scattering of the Following." Dixon solos during "Contour Three" with the cello of Glynis Loman, and then the band collectively asks why. The leader also contributed reproductions of the colorful abstract acrylic paintings that adorn the CD booklet. This is a project of austere emotion, clever counterpoint, and searing reality in dedication to a condition in the so-called civilized world that should never, ever be. If you are someone who appreciates the pure improvised music of the singularly original Dixon, this recording needs to be added to your collection. ~ Michael G. Nastos, All Music Guide
"Trumpeter Bill Dixon has proved himself to be one of the most dedicated vanguardists in jazz, honing an instantly recognizable language on his instrument while composing at a furious rate." -- Time Out New York
"Starkly removed from history and tradition, and yet eerily and achingly redolent of its revolutionary moments, Dixon's compositions form an equally disparate and unified body of work that ranks among the finest this country has offered the world." -- All About Jazz
2008 marks the magnificent return of the legendary Bill Dixon: composer, trumpeter, teacher, and all-around musical force. His contributions to the body of great Black American Music first began in the 1960s: performing and recording with Archie Shepp and Cecil Taylor; producing the groundbreaking October Revolution concert series in NYC 1964, and as architect of the Jazz Composers Guild. In the late '60s he left "the scene" but continued to leave an indelible mark on music by devoting himself to teaching from 1968 onward, creating the Black Music Division at Bennington College in 1973. While he has never stopped composing (prolifically at that), and has produced a series of rarified small ensemble recordings, his work for expanded orchestral ensemble has gone unrecorded and/or unreleased since his momentous album Intents and Purposes (RCA, 1967). Bill Dixon with Exploding Star Orchestra, a well-received collaboration with Rob Mazurek (Exploding Star Orchestra), was released by Thrill Jockey in February. And now, this album--a tour de force of orchestral composition, conduction, and improvisational exploration--fully composed by Bill Dixon and performed with the Bill Dixon Orchestra.
17 Musicians in Search of a Sound: Darfur was specially commissioned by Arts for Art, Inc. (producers of the Vision Festival). It is one of three such commissions that made their concert debuts at Vision Festival XII in 2007. Roy Campbell's Akhenaten Suite was the first released (in March) and the next shall be William Parker's orchestral work Double Sunrise Over Neptune (due in August).
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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