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| Vade Mecum II |
| Bill Dixon |
első megjelenés éve: 1996
71 perc |
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| (1997)
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CD |
| 5.274 Ft
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| 1. | Valentina Di Sera
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| 2. | Tableau
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| 3. | Ebonite
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| 4. | Reflections
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| 5. | Incunabula
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| 6. | Octette 1
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Jazz / Avant-Garde, Free Jazz, Avant-Garde Jazz
Bill Dixon - Trumpet, Flugelhorn, Paintings
Aldo Borrelli Mastering
Barry Guy Bass, Double Bass
Giovanni Bonandrini Producer
Graham Lock Liner Notes
Maria Bonandrini Artwork
Paolo Falascone Engineer
Tony Oxley Percussion
William Parker Double Bass
Maybe it's the relatively unusual instrumentation of this quartet (trumpet/fluegelhorn, two acoustic basses and drums), and more likely the talents of the individuals involved, but among many other delights, the sense of air-filled space, of the listener being among the musicians, is astonishing. Bill Dixon's horns flit and hover in the air above, describing arabesques as intuitive as they are mathematical, as natural and arcane as bird cries. The dual basses of Barry Guy and William Parker, with approaches so different in manner that they often sound as though issuing from unrelated instrument, prod and cajole from the sides, sometimes echoing Dixon, other times steering the direction of the improvisation as they see fit, and always rambunctiously inventive. Tony Oxley's percussion, as unobtrusive and essential as a floor, pervades the atmosphere, providing sonic surfaces for the others to glance off or to mirror. Graham Lock's fine liner notes assure readers that Dixon provided a compositional framework for the group (who hadn't worked together as a quartet before this session), but it's a testimony to his conception that the entire recording has the aura of a superb, intimate, and powerful improvisation. Paradoxically, if one concentrates on each individual's playing, there is a kind of sparseness, even hermeticism in the sound, but in the group context it becomes a lush, breathing, blooming creation. In some ways, Vade Mecum II is an extension and descendent of Cecil Taylor's '60s classic Unit Structures, on which Dixon also played. It is, in any case, one of the very finest jazz albums of the '90s and one that cannot be recommended too highly. ~ Brian Olewnick, 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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