Spontaneous Music Ensemble: Withdrawal
Kenny Wheeler (trp/flugel) Paul Rutherford
(trb) Trevor Watts (as/oboe/flute/voice) Evan Parker (ss/ts) Derek Bailey (g)
Barry Guy (b/p) John Stevens (d) and pretty much everyone plays percussion. Recorded in September 1966 and March 1967.
Oh, what a year does. Compared to Challenge, this album is more in line
with the music I associate with Spontaneous Music Ensemble. For my first run
through I didn’t read the liner notes, which is a pretty common approach for me
when listening to an album for the first time. However, in this case it was
encouraged by a power cut that had me don the headphones and listen along with
the glow of my computer screen (until it dawned on me the reason it was so dark
was that the curtains were closed).
The first four tracks were recorded as the
soundtrack for a film from which this album draws its name. The music moves
slowly with arco bass underpinning the (mostly) sustained sounds and flurries
from the horns. The flurries build and the drums become more present as the
overall sound becomes far denser. Kenny Wheeler sounds more confident than on
the group’s previous outing, although I’m not really hearing things in terms of
soloists and accompanists but rather listening to the overall group sound (which
is quite distinctive and cohesive). The opening of “Part 1C” sees the horns and
drums ramp things up and the arco bass (which sounds great) emerges as the
dynamics drop (was it there all along?) and the horns trade phrases and lock in
with held notes.
“Part 2” opens with very high arco and a
dialogue between Wheeler and Watts (on alto, up to this point he had mostly
been on oboe). When the drone returns to the low register the rest of the horns
enter while remaining quite sparse in their approach. Eventually the drums are
added, though just momentarily, before the dialogue between Wheeler and Watts
returns although with the ever-present drone of bass. Throughout the
proceedings it is interesting to hear Parker taking such a back seat, with his
contributions not nearly as prominent as the other horns (especially Wheeler
and Watts) and a nice reminder that artists rarely, if ever, hit the scene
fully formed. The arco bass, and to a lesser extent the glockenspiel, provide
continuity throughout the work and while the bass may be somewhat repetitive, I
feel that it worked and I didn’t tire of it.
Two questions remain: 1) would I have
guessed it was soundtrack music had I not read the back cover? And 2) has
anyone seen the film? I wouldn’t mind seeing it.
Next up are the three movements that
comprise the “Withdrawal” suite. Straight away there are a couple of noticeable
differences. First, Barry Guy is no longer only droning on bass and second is
the addition of guitarist Derek Baily. My ears readjust and I realize that the
trumpet is now muted and the glockenspiel (or are they vibes? …. I think the
latter - probably played by Parker and/or Watts as I’m not hearing
much/anything from them) has a more active roll as do the drums (“Sequence 1”
ends with a drum solo). All of these factors contribute to creating a very
different texture than was present on the soundtrack recordings.
The texture continues to shift on “Sequence
2” with Watts opening on flute, Stevens focuses on the toms and Guy at the
piano (combining strumming with more conventional playing). The brass enter
along with some very tasty (and rather quiet) guitar from Bailey. Stevens
shifts focus to the cymbals as Watts begins singing into his flute and Guy
moves onto the bass with an approach that is similar to the soundtrack
recordings.
“Sequence 3” keeps the energy levels
higher, although I’m not feeling as if people are overly playing. Steven’s is
busy at the drums and his playing over the arco bass brought to mind Haden and
Higgins on “Lonely Women” (although completely different!) as the horns play
hits together. In contrast to the first two “Sequences” this piece is much
shorter and I feel ends before it really has had all it can say but that’s not
necessarily a bad thing.
The final four tracks that make up the
suite “Seeing Sounds & Hearing Colours,” might be my favourite of album. The
group moves together as one and the pieces unfold naturally at a nice pace. For
me, one of the strengths of this suite conciseness of the movements - between
4-7 mins each - enough time to let things develop without dragging. What
exactly is composed and what is improvised? It’s hard to tell really, but I
like the ambiguity (apparently each piece is based around a particular texture).
Emanem has put together a nice package with
some background notes, full instrumentation listing and photos from the soundtrack
recording session some live concert shots.
