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| 5.274 Ft
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| 1. | Essay Di Larry Neal
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| 2. | Papyrus
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| 3. | The Statesman
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| 4. | Indirizzo/Via Cimarosa Sei
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| 5. | Scribbles
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| 6. | Ritratto Di Allen Polite
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| 7. | Cinnamon
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| 8. | Quadro Di Henry Dumas
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| 9. | Palimpsest
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| 10. | Steps
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| 11. | Sine Qua Non, No. 1
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| 12. | Quadro Di N.H. Pritchard
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Jazz / Avant-Garde Jazz
Bill Dixon - Cover Painting, Piano, Paintings, Trumpet, Liner Notes
Aldo Borrelli Engineer
Giovanni Bonandrini Producer
Keith G. Thompson Liner Notes
Maria Bonandrini Cover Art
Paolo Falascone Engineer
Tony Oxley Drums, Background Noise, Percussion, Drums (Snare)
Perhaps the most underrated trumpeter in all of jazz, Bill Dixon has forged a unique style that relies as much on space and silence as it does on sound. Yet, his music is far from that of minimalism, as he simply makes every note count. For this recording he is paired with percussionist Tony Oxley, who shares the trumpeter's predilection for sensitivity. Both of these musicians are too smart to attempt to impress with flurries of notes or astonishing technique (though both are capable of doing so); instead, the joys compare to those of a fine wine: subtle and fulfilling. All 12 pieces are fully improvised, yet filled with melodic wonders. The music requires the listener to pay close attention, but the rewards are there. Dixon plays piano on several tracks, and his approach with the keys aptly mirrors his trumpet playing -- and provides additional pleasure. ~ Steven Loewy, All Music Guide
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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