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| November 1981 |
| Bill Dixon |
első megjelenés éve: 1981
80 perc |
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| (2007)
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CD |
| 5.274 Ft
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| 1. | Webern [Live]
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| 2. | Windswept Winterset [Live]
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| 3. | Velvet [Live]
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| 4. | Llaattiinnoo Suite [Live]
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| 5. | November 1981
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| 6. | Penthesilea
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| 7. | The Second Son
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| 8. | The Sirens
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| 9. | Another Quiet Feeling
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Jazz / Avant-Garde Jazz
Recorded: Nov 8, 1981-Nov 17, 1981
Bill Dixon - Trumpet, Paintings
Alan Silva Bass, Contrabass
Giancarlo Barigozzi Engineer
Giovanni Bonandrini Producer
Jimmy Stewart Liner Notes
Laurence Cook Drums
Mario Pavone Contrabass, Bass
Ron Kurz Engineer
The music on this two-record set was typical of trumpeter Bill Dixon's hue and perhaps the most in-command set of his so far released (1983). The first five tracks on sides one and two, (11/16 and 17/81), struck me as rather unresolved and tedious on first listening. The last four tracks on sides three and four, (11/8/81), grabbed me with both their immediacy and daring. Both sides impressed me with the dedication to purity which has always marked all of Dixon's music. Repeated listenings to record number one brought out greater dimensions to the music, displaying an azure mellowness which ran deep with revolving panoramas. Record two opened with "Webern", a bold, biting piece which set the tone and segued into "Winterset". The record ended with "Velvet", returning to the solace which marked so much of record one, and "Latino Suite", a developing piece of trumpet hues over washes of free rhythm which, by the time it evolved mid-way into a bowed bass solo, was quite effective. It was interesting how some of this music, "Velvet" in particular, when played at 45 RPM maintained its pacing. It played faster but the pulse remained the same. ~ Bob Rusch, Cadence, 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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