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| 1. | Ils improviseront
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| 2. | Ils auront improvisé
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| 3. | Ils improvisaient
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| 4. | Ils improvisérent
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| 5. | Ils eurent improvisé
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Jazz
Recorded: 18 May 2008, 25e Festival International de Musique Actuelle de Victoriaville
Joe Morris : guitare acoustique
Simon H Fell : contrebasse
Alex Ward : clarinette
The Necessary and the Possible applied to the context of this group - and what we reach for with our music - says so much about the subject that I could just type the title enough times to f ill this page, not write anything else and leave the rest for the reader to imagine. That might be sinister and apathetic. Seriously though, Simon, Alex and I are indeed equals. There is a balance of content between us. It is rendered in shared ideas about articulation, timbre, and methods of interaction.
The group vocabulary feels limitless. We listen to one another caref ully, with a willingness to play in unison, to complement and or juxtapose whatever idea comes to us. Perhaps it's a coincidence that we share this set of things. We live in dif ferent countries (me in the U.S., Alex in the U.K., Simon in France) and up to the date of this recording had only worked together as a group for a week. Knowing as I do that there are many U.K. musicians who share a similar degree of technique and versatility, perhaps the real coincidence here pertains to me. Regardless, the complex set of materials we share makes it possible to achieve what I feel is a rare combination of things. For instance, we freely decide to connect to a kind of narrative f low, a stated or implied pulse or linear progression, then instantly disconnect from it separately or together. This single musical decision gives us an amazing amount of freedom in our performance. It expands our ability to use pitches that can be manipulated with timbre and extended techniques as singular sonic statements, to construct intervallic templates, or to use melodic ideas that ride the f low. Like every part of our music, our collective creation of form requires no planning or discussion. The sequence of events, beginnings and endings occur through trust and confidence in each other.
---Joe Morris, March 2009
Joe Morris
Active Decades: '80s, '90s and '00s
Born: Sep 13, 1955 in New Haven, CT
Genre: Jazz
Styles: Avant-Garde, Post-Bop, Free Jazz, Avant-Garde Jazz
Joe Morris is an uncompromisingly original guitarist following in the tradition of other free-jazz guitar, conceptual innovators like Derek Bailey, Sonny Sharrock, Eugene Chadbourne, and James Ulmer. However, Mr. Morris has developed his own, unique approach to guitar playing, composition, and improvisation which is unlike his peers. He usually incorporates a clean tone of the be-bop lineage for his single-note driven improvisations. His recordings are widely eclectic ranging from solo performances, traditional acoustic settings, and fusion dates to various groups with interesting instrumentation Mr. Morris spent his formative years in New Haven, Connecticut where he taught himself the guitar and immersed himself in a variety of progressive musical styles. He spent numerous weekends attending free symphonic productions at nearby Yale University which included performances of artists as diverse as Karlheinz Stockhausen, Charles Ives, and Duke Ellington. Attention to local AACM (Association for the Advancement of Creative Musicians) members Leo Smith and George Lewis and a world-music radio show presented by percussionist Gerry Hemmingway also helped Mr. Morris develop his wide musical pallette. In 1975, Mr. Morris moved to Boston where his unique approach was not initially accepted in the then-prevalent, modal-jazz scene. Despite this temporary setback, and some time spent playing guitar in Europe, he developed a pivotal, collaborative relationship with multi-instrumentalist Lowell Davidson whose unique sound explorations inspired Mr. Morris to further develop his own original approach to music making. In 1981 Mr. Morris began his own label, Riti Records (named after an African, single-stringed folk-instrument), to document his prolific musical output. During the 90's he became, arguably, the most widely heralded free-jazz guitarist in jazz while recording with many avant garde luminaries. Mr. Morris became the first guitarist to lead a recording session for the prestigious Black Saint/ Soul Note records with 1994's Symbolic Gesture, and he has continued to record extensively for many outstanding labels such as ECM, Hat Hut, Leo, Incus, Okka Disk, Homestead, About Time, Knitting Factory Works, No More Records, AUM Fidelity, and Omnitone. Also, Mr. Morris has given lectures and workshops for Harvard University, New England Conservatory, Berklee College of Music, and other European universities. Joe Morris recordings can currently be obtained through Cadence/ North Country Distribution or his website at www.joe-morris.com.
---Wilson McCLoy, All Music Guide |
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