Emanem (4089)
It was inevitable that these two musicians should convene for a couple of town meetings last year in Brussels and Barcelona. In doing so, John Butcher and John Edwards have constructed a creative hamlet – a place where one may gather in solitude to mull and then experience the possibilities with these brothers in sound on diametrically opposed instruments. They persuade us to further recognize that an instrument is only a name and not meant to be a label for any one set or subsets of acoustic or electric tones. In the hands of resourceful, experienced musicians, the alto saxophone and acoustic bass transcend what listeners have come to expect from names, labels and “filing under.”
The set is brewing with energy and imagination at every turn, the duo deflecting any tendency to languish in the comfort of drawn patterns or breath-catching plateaus. Butcher’s soprano exudes amazing control and confidence – unflappable, immovable. Twenty minutes into “Cocktail Bar” from the Brussels set, we hear a digitized Bach cry form an attendee’s cellular phone. The saxophonist characteristically shuns expected impulses and flies through a self-written encyclopedia of technique and emphatics. The four following tracks, or segments, are from a set in Barcelona last summer. There are no detectable sketches in the numbers, only a “get up and go” manner of music making. The duo is on target with each other, whether streaming together long lines of swirling improv or quick-firing chunks of short-duration sound. In “Plate XI,” Butcher mimics a guitar walking through overanxious arpeggios, trilling the mouthpiece as a Spaniard would “R’s.” Each of Edward’s bowed probings threaten to crack Butcher’s tenor like a brittle walnut, with the saxophonist sidestepping and reevaluating the proceedings. Where there are reflective moments, as in the bowed segment of “Grottes 1,” in listening to Optic, I was left with that euphoria that follows a solid workout. The result is part dance, part sparring bout, but altogether a fluid recording that works probably beyond even the expectations of Butcher and Edwards themselves.
Posted by al on August 19, 2003 9:36 AMI agree with you review. This album is one of the best!
Posted by: Alexander at October 29, 2004 6:28 PMI agree with your review. This album is one of the best!
Posted by: Alexander at October 29, 2004 6:28 PMI saw a gig with John Edwards last summer, a trio with Evan Parker and Tony Marsh on drums . Edwards is a very impressive bass player, struggling with his bass to get the sounds out, physically kicking the back of the poor thing to produce the sounds he's looking for.
I had seen a few times before a gig with Barry Guy (+ Lytton and Parker), and it was very interesting to compare the two different approaches of the same instrument . Two british guys, playing the same instrument with the same reed-man, but two dramatically different playing. One is working WITH the instrument, with some kind of sensual relationship to it (he even had it build for him, I learnt on Guy's website), while the other seems to fight with it, to physically beat his bass.
A beloved mistress compared to an abused wife ... maybe do I go to far ...
But I think that these two different appraoches can be outstretched to other musicians/instrument. I once read an interview of Billy Higgins by Val Vilmer entilted "a lesson in love-makin", where Higgins was explaining that when he played, it was like making love to his drumset ... while other drummer, well, are more violent... names ? Shannon Jackson, maybe ...
Same for guitarist, etc.
It was only a few thoughts ...
Thanx anyway for reading
Posted by: vinz at August 31, 2006 5:10 AMI'm seeing my small little comment getting down and down the "recent comments" list, so I'm posting here again if anyone would like to comment on my (profane) gibberish above ...
If no one is willing, then I'm sorry for the pollution.
I like it, Vinz. It reminds me again of an Eddie "Lockjaw" Davis adage recently quoted elsewhere. Davis was one to wrestle his tenor sax into submission with an authoritative attack/tone. Versus someone like Paul Desmond who took the opposite (submissive?) tack of almost allowing the his alto to play him. Both tactics can yield very satisfying results, both aurally & visually.
Posted by: derek at August 31, 2006 9:43 AMIsn't it a classical music saying that "Liszt conquered the piano, while Chopin seduced it"?
Posted by: Gerardo Alejos at August 31, 2006 10:21 AMBoth of those guys are very phyiscal and are two of my favorites.
John and I both love the huge acoustic sound of guys like Kowald, Mingus and Paul Rogers. John is self taught, that is a tough road on double bass, John and Wilber DeJoode are the most impressive of the guys who are said to be self taught.
John is more and more precise and fluid, I think have most of his discography.
Guy is a classically trained solo bassist, that makes his technique more fluid. Contrary to what one might think, that is a far easier and faster road.
He also uses a lot of amplifacation.
I have heard him warming up without an amp and his sound is huge, I think it is just the sound he prefers.
Anyway, I love both of them.
Oh, and this is a great cd.
"Isn't it a classical music saying that "Liszt conquered the piano, while Chopin seduced it"?"
There's that great Gerard Hoffnung cartoon entitled "Webern" showing a pianist with a small baby on his lap plonking out the notes; and another entitled "Boulez" with the piano smashed to pieces and the pianist standing over it with a whip..!
Maybe he didn´t hear Aimard performing Boulez´ works. I´d say Aimard has it more in a whirl inside a lasso. Kinda cold about Webern though. Why single him out?
Posted by: Ted at August 31, 2006 1:21 PMOh, and anyone heard and have thoughts on the Butcher/Minton CD 'Apples of Gomorrah' That was what I meant to post when I got sidetracked.
Posted by: Ted at August 31, 2006 1:31 PMDamon, I was quite sure you'd have something to say about that ! I didn't know that Edwards was selftaught but it's not really a surprise ...
I play e-bass myself and thought for a time about investing in a double bass, but the price of those little babies is sooo huge that I decided to get a 5 string fretless instead... I saw that you play a Ergo electric upright and read a few of your comments about that instrument ... is that really so good ?
This CD didn't live up to my expectations, but I guess they rarely do anymore. Two greats, middling material. The long piece is the strongest -- something I've found true of other Emanems, oddly.
Posted by: djll at August 31, 2006 3:07 PM" I saw that you play a Ergo electric upright and read a few of your comments about that instrument ... is that really so good ?"
- for the price you cannot beat it. I think it is better than getting a cheap plywood bass. I have a 6 string, and the extended range is great.
Posted by: Damon Smith at August 31, 2006 3:22 PMActually, Hoffnung was a great fan and champion of new music. Apples of Gomorrah, wow there's a blast from the past
http://www.paristransatlantic.com/magazine/monthly2002/08aug_text2.html#2
i also found this cd only fair coming from these two. what do poeple think of the new potlatch with butcher and kurtz.
Posted by: johnyc at September 1, 2006 12:41 AMExcellent (review in latest Wire). Strongly recommended.
Posted by: Dan Warburton at September 1, 2006 12:52 AMBarry Guy also chose the extended range, he plays a five string with a D string higher than the usual four strings, doesn't he ?
Posted by: vinz at September 1, 2006 2:27 AMThe five-string is one of three basses Barry Guy uses. The other two are: a very old traditional instrument, and the Roger Dawson "travel-bass".
Posted by: Graham L. Rogers at September 1, 2006 4:02 AMI had guessed that he had a traditional bass for the baroque stuff at least ... thanks for the info Graham !
Posted by: vinz at September 1, 2006 4:59 AMBarry guy has a high C. My Ergo has a low B + high C. Paul Rogers 7 String ALL basse has a low B + high C & F. I love all of the cds he has made with that bass.
I have "The Bright Lights & Big Time" with him, Kevin Norton and Nick Didkovky on now, before I get on a plane to Chicago.
Great CD.
Ergo is going to make 7 strings soon and I am going to get one.
For improvisors the extra strings mean an extra set of overtones to work with.
In fact, Vinz, Barry uses the "old" traditional bass wherever and whenever possible, provided only that he can transport it safely. He does not use it only on the baroque recordings. You can hear the old instrument on "Fizzles", the travel-bass on "Symmetries", and the five -string bass on "Arcus"
Posted by: Graham L. Rogers at September 1, 2006 6:24 AMJust wanted to second Damon's praise for both Paul Rogers and his mighty ax.
Posted by: walto at September 1, 2006 12:20 PM"i also found this cd only fair coming from these two"
Man...I don't know. I like this one. I listened to it this morning just to make sure I wasn't crazy. Sounds good to me.
Apples of Gomorrah is great too. I was really excited when that came out b/c of I love Butcher with Minton on "Two Concerts" with Erhard Hirt on FMP.
Posted by: Jacob Lindsay at September 1, 2006 12:30 PMOPTIC kicks ass.
Posted by: Reuben Radding at September 1, 2006 6:15 PMOff topic, but when are we going to see/hear a Reuben Radding/Damon Smith collaboration.
Posted by: narew ramsh at September 1, 2006 7:10 PMI'm not a great fan of double double bass albums - Damon's with Kowald is just about one of the few I still go back to. What I'd like is a SOLO album by each of them (Damon & Reuben that is)
Posted by: Dan Warburton at September 2, 2006 9:05 AMPersonally, I thought the twin basses of Peter Kowald and William Parker on the "Victoriaville Tape" from 2002 were a hugely enjoyable listen. White/black, European/American, free improviser/jazz tradition-rooted player. Good inter-reaction, evident mutual listening, fine live sound, an upbeat energy and an inspiring feel.
Posted by: Graham L. Rogers at September 2, 2006 10:37 AMDamon and I recorded a little the last time he was in Brooklyn, but it was hard to get much done cause we kept stopping to talk shop. We'll get something out with the two of us one of these days. It's inevitable.
As for my solo CD, I have plans for next year...
Dan, I love Phillips & Guy's ARCUS, and I'm a sucker for The Marks Brothers (Dresser & Helias), but I can understand your lukewarmity towards bass duos.
The Leandre/Wm Parker duo on Leo isn't bad either.
Posted by: ND at September 2, 2006 4:09 PMPlenty of great bass deuces out there, IMO. In addition to those mentioned, I’ve also got soft spots for parts or all of:
Léandre & Parker - Contrabasses (Leo)
Kowald in tandem w/ Altena, Guy or Phillips on Bass Duets (FMP)
Phillips & Holland - Music for Two Basses (ECM)
Niels-Henning Ørsted Peterson & Sam Jones - Double Bass (Steeplechase)
Phillips & Turetsky (w/ Golia) - Trignition (9 Winds)
And count me as another looking forward to a Smith/Radding recorded confab.
Reuben, what’s coming up next on Pine Ear?
Next up is an album per month in 2007 available as free downloads, of all free improv material.
Plus at least one new CD. Possibly the solo just mentioned.
I would also like to hear a Damon solo CD!
Posted by: Reuben Radding at September 2, 2006 6:17 PMI dunno, double/double bass duos can be allright.
I kinda greatly dug the Peter Kowald-Barry Guy recording on FMP. Paintings was it? Though as a caveat I'll have to say that's the only bass duo I've heard!
Posted by: Doug Holbrook at September 3, 2006 3:17 AMBTW, not a bass duo exclusively, but a fine, and overlooked record is Golia/Leandre/Filiano - haunting the spirits inside them...
Two basses working really well together...
Posted by: Reuben Radding at September 5, 2006 6:56 AMSilva and Grimes played some nice stuff together lo, those many years ago. Neither is/was exactly a virtuoso on his ax, imho, but.....who cares?
I also like some(but not all) of the Leandre/Parker recording.
Posted by: walto at September 5, 2006 1:53 PMOk, first: barry alternates between two 4 strings tuned low to high: ADGC EADG on Arcus, he did not have his five string yet.
Barre has played a 5 string for years and plays his.
Rueben and I have done two duo concerts and I was really pleased with. I still have two limited edition 3" cdr releases to get out, but I had flood of "normal" editions all of a sudden, one is a duo with Reuben, the other is "mit ohne kontrabaß" with the fantasitic bass player Jürgen Morgenstern http://www.jm-f.de/
He plays ukulele and I play 'cello.
I hope to do it soon but both are labor intensive.
I imagine Reuben and I will get to a proper recording next time there is a Twombly exhibition in NYC or he makes out west.
I love bass duos (obviously) another great one is the duo of Werner Dafeldecker and Uli Fussenneger.
Also,This cd is awesome, I am not sure what Djll is hearing.
I count the Guy / Phillips "Arcus" record as my favourite all bass imprint.
Reuben - thanks for reminding me about "Haunting the Spirits Inside Them" - a superb but highly overlooked record, as much of Music&Arts stuff seems to be unfortunately.
"haunting the Spirits inside" is one of my all time favorites. I have participated in two bass projects with both of them and always listened to that cd beforehand.
The new FIliano/Steve Adams on cleanfeed is first rate.
On a forthcoming cd of Alyer songs there are two trio pieces with Vinny and Joe Morris and I on double basses.
Ok, back on topic: I pulled out this cd and listened the last week or two. I am going to go as far as to say it is my favorite Edwards cd. He displays more subtlty, detail and control over his techniques on this than anywhere else in his discography.
The structures are relaxed and fantastic.
As usual, Djll is totally off base.
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