Spontaneous Music Ensemble: Withdrawal

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.

Spontaneous Music Ensemble: Challenge

Spontaneous Music Ensemble: Challenge (Emanem)

Having heard a smattering of their recordings, I’m finally getting around to listening to Spontaneous Music Ensemble a bit more carefully. I figured starting at the beginning is probably a sound move. Challenge, recorded in March 1966, is a fascinating album as it captures SME in its formative stages. In fact, had this been a blindfold test I may not have been able to pin point it.

This incarnation of SME features Kenny Wheeler (trpt) Paul Rutherford (trb) Trevor Watts (as/ss) John Stevens (d) and Bruce Cale and Jeff Clyne (splitting the bass duties).

There are moments that hint at the freer approach that was to come (the collective playing on “End to a Beginning”) but for me the music still fits comfortably into the “Free Jazz” mode with composed pieces by Watts, Rutherford and Stevens, soloists with accompaniment, some collective improvising and a rhythm section swinging - nothing particularly unconventional for the time. And that’s not a criticism, the music remains engaging throughout and I feel they create a solid ensemble sound. It’s thoughtful and dynamic music. 

“E.D’s Message” opens the album and it doesn’t hold back with plenty of high-energy output from Trevor Watts - perhaps the boldest solo voice on the album, although Rutherford has some nice moments too such as on “After Listening.” The rhythm section comfortably moves between time and a more textural approach. At times things get pretty busy but Stevens sounds assured throughout and is a very responsive accompanist. There are a few nice arco spots from Cale too. It’s funny how something pricks up your ears. For me, it was Stevens’ cymbal work on “Travelling Together” - a whispering shimmer that moves to a bell pattern just as the piece seemly comes to an end before the drum solo takes flight. Wheeler still seems to be finding his feet in this setting and is somewhat more tentative than the others with maybe just the occasional hint at his mature style. He gets a bit of room to move on “After Listening,” which features solos from the each of the horns. A standout from this track is the superb accompaniment of Stevens and Cale. They manage to lock in with each soloist, creating music informed by the soloist rather than relying on rote accompaniment.

There is something familiar about some of the pieces and I struggled to put my finger on what it was. As I continued to listen throughout the week I was reminded, on more than one occasion, of the Bobby Bradford/John Carter Quartet. I guess there are some similarities…. bass and drums with horns (in this case three rather than two) and a post-Ornette vibe that is present at times - but I’m still not sure that’s what it is. [Side Note: I’m not overly familiar with the Bradford/Carter group, eventually I might get to a more in depth listen to them as well.]

For the final track on the disc, Chris Cambridge (b) and Evan Parker (ss) join John Stevens and Trevor Watts. Recorded in April, 1967, “Distant Little Soul,” is moving towards what I hear in my mind’s ear when I think of SME - exploratory (rather than experimental) group improvisation at the quieter end of the spectrum.   

So far, this is the earliest recording of Parker’s I have heard and the distinctive voice he developed is still in its infancy. It’s fascinating hearing players early in their career (Bird with Jay McShann, Lee Konitz with Claude Thornhill etc.) so for fans of Evan Parker this track is worth the price of admission. Withdrawn contains some Parker from around the same time… I’ll be getting to that album next.

Straight Horning - Evan Parker: As the Wind

In addition to his solo saxophone recordings, I'm a fan of Evan Parker's quieter outings such as his duo with Richard Nuns, Rangirua, and the two trio albums with Paul Bley and Barre Phillips, Time Will Tell and Sankt Gerold Variations. The recently released As the Wind, fits the bill nicely and has been getting a fair bit of airtime. [As an aside: I have never been able to get into his work with long-time collaborators Barry Guy and Paul Lytton or as part of Alexander von Schlippenbach's trio].

Evan Parker: As the Wind (PSI Records)

I'm very happy to have stumbled upon this while browsing the shelves at Dusty Groove. It was the line-up that raised my curiosity levels -  Parker sticks to the soprano throughout nine free improvisations with Toma Gouband (Lithophones) and Mark Nauseef (Percussion). 

The music is never too busy with space playing an important role in the album. It is music that is not in a rush and has an open and airy presence. Flurries of notes punctuate periods of sustained sounds. Surges of sound retreat as quickly as they appear. At times I couldn't help but think of Gagaku or the Shakuhachi. It's a marvelous feeling to be immersed in a recording to the point, no longer aware of the specific instruments being played, you just bask in the sound.

The air sounds, microtones and multiphonics are not just played for show and flash. And lets not forget clean notes... Parker has a great clean soprano tone but it's something that is not often mentioned. I'm really enjoying the sound of this album. Not only does it showcase the many subtleties of the individuals but also the wonderful blend of the trio is beautifully captured. 

I don't get the feeling the trio is trying to do something new. In fact, it feels like they tap into something quite ancient, perhaps even primitive. I can’t quite put my finger on what it is, but it makes for compelling listening as another year rolls around.

Practice Journal: 10 November, 2014

Monday:
I forgot to write down notes from today but it was something along the lines of the following:
Overtones from the second half of page 14 in the Rascher book.
Modus Vetus - sing and play 1 phrase in all keys (in whole steps... I think).

Modus Novas - sing and play 1 phrase (worked my way around the keys I didn't get to before when playing this phrase).

Balkan Song

Rhythm - working on bell rhythms from Pure Rhythm.

Tuesday:
Following work, doctors and a run I decided to make today a rest day, although I did get in some rhythm work later in the evening.

Wednesday:
Modus Vetus - sing and play 1 phrase in all keys (in major 3rds)
Modus Novas - sing and play 1 phrase in all keys (in whole steps)
Balkan Song - worked on memorisation (I'm getting there slowly).
Finished things of with some improvising. It wasn't my longest practice session of late (about an hour) but I felt like I was focused and when my mind drifted I snapped back into place quickly.

Thursday:
Modus Vetus - sing and play 1 phrase in all keys (in minor 3rds)

Letting It Fall into Overtones and the 2nd half of page 14 and start of page 15 from Top Tones. E3 of C fundamental is giving me some problems. 

Modus Novas - sing and play 1 phrase in all keys (ascending in whole steps). This one was a phrase in 4ths that came together pretty quickly.

Rhythm - tapped out some bell patterns later in the evening.

Friday:
Balkan Tune - focused on the articulation today which is helping to bring together the rhythmic aspect. Some of the melodic shapes have them fall into place and others are less obvious

Modus Vetus - sing and play 1 phrase in all keys (in minor 2nds)

Letting It Fall into overtones - focus on the 5th and 6th (i.e. D and F from Bb fundamental). From Bb and B it was not too bad but I'm finding it hard to get E and G to speak cleanly from the C fundamental.

Modus Novas - sing and play 1 phrase in all keys (in Major 3rds).

Saturday:
About an hours practice today. My schedule changed at the last minute but I felt that I had quite a focussed session.
Modus Vetus - sing and play 1 phrase in all keys (in minor 2nds)
Overtones - Letting It Fall and start of page 15 from Top Tones. Mixed success up high.
Balkan Tune - memorisation is coming together and the piece is feeling more solid overall.

Improvising - finished things off with some improvising. Again, trying to not overplay and let things go were they want.

Sunday:
I did a few different things for this afternoon's session.
Started things off with some of the Joe Viola scale studies as a warm up.
When I was backing up my computer I came across an untitled folder containing 100 chords and decided to work with it today. Sometimes I would sing a note along with the recording and then try and play it and other times I would just play. I mixed things up - playing just a few notes or more of a line and other times working out parts of the chord. I worked through about 30 of the chords - playing each 2 or 3 times at the most. Here's one of the tracks (my first crack at uploading audio here):


I have no idea where these chord recordings came from. Drop me a line if you know the source.

Worked some more on the bell rhythms in Pure Rhythm. So far it has been a lot of fun working with this. I am a long way from being a percussionist but it is fun playing (or trying to play!) these rhythms on bongos.
Finished things off my some free improvising.

gestalten

Frank Gratkowski Trio - Gestalten (JazzHausMusik 1995) Frank Gratkowski (as/b.clar) Dieter Manderscheid (b) Gerry Hamingway (d/perc)

The line up of sax/bass/drums has long been a favorite of mine. Though I am still working my way through his fairly extensive discography (there is still A LOT left to hear) Gestalten is the Gratkowski album I have listened to the most over the years.

"Gesti" 
Leaps from the sax create a “push & pull” type effect. The accompaniment features spacious playing from the bass (in some ways an eco of the sax) and minimal fills from drums. Each players’ part breathes freely, no member encroaches on the other two and everyone sticks to shorter phrase lengths.

"Blazing"  
Alongside the quite busy playing from sax and drums, the Bass is quite a contrast - almost as if he is playing a ballad and the others are up tempo. He utilizes plenty of space. Around the half way mark a slow and dirge-like section appears as the sax wails on top with the drums at his side (urgent but not over powering). The bass remains very much in touch with (not detached from) the trio - very effective. The entire range of the sax comes into play - a distorted bottom end (reverse altissimo?), right through to stratospheric whistles. A short pianissimo burn finishes things off.

"Gloaming" 
A bass feature emerges from the whispers of the trio, working its way to pointed higher register sounds contrasted with bent and sliding notes. The accompaniment - key sounds and air from sax with textural rattles and accents from drums - builds until it becomes a three way dialogue about 2/3rds of the way into the piece. Some great light-toned lines quietly burst free from the sax. The finish is somewhat abrupt. 

"Con Affetto" 
A ballad featuring rich arco tones from the bass and quiet, low register counter lines from the bass clarinet. A nice, economic use of notes for the duration of the piece. Throughout, Hemingway manipulates the pitch of his drums (not a cymbal to be heard) to create a glissandi-like backing. 

"Dancing Derwish”
Urgent bass gets things underway basing his lines on a repeated figure. The intensity gradually rises as the bass clarinet enters alternating clean and distorted sounds, at times very throaty. Manderscheid's fingers really start to fly backed by some great low volume playing from Hemingway (his use of dynamics across the album is impressive). He gets some room to strut his solo playing later in the tune.
Often on this album, the continuity is such that it is difficult to separate the compositional from the improvised sections. For example: following the bass solo when bass clarinet enters, over a solid groove from bass & drums, could easily be composed. 
At 11 and a half minutes this is the longest track on the album. Most sit between four and six minutes with only one other over 10. For those of you that find longer pieces (particularly free improvisations) hard work, take note.

"Stag Rustler" 
A mysterious beginning - at times it's difficult to differentiate between the players parts. Amidst the clicking, clacking, blowing, and occasional low end rumble, a melody makes a brief. The melody retreats and the 'background' intensifies before dropping out altogether and the melody takes us out. Composed by Hemingway

“Ernestine” 
Melodic microtonal playing from sax (at times producing a flute like tone quality). When I tune into the bass & drums low volume backing of the sax, I find them wonderfully in sync. A delicate, haunting ballad.

“Duck Hunt”
A piece of contrasts - starting out quiet(but busy) high register arco bass, light textural percussion and airy, vocalized sounds from sax until 3 and a half mins when alto grunting appears. The saxophone takes on an abrasive, gritty & distorted tone and the notes gather pace. The bass playing becomes more angular, sliding and stark. A wash of sound from the drums covering the whole kit - unrelenting until the seven and a half minute mark when the trio suddenly cuts down to a whisper for the final two minutes - watery breath sounds, stringy bass and scraping drums (at times mimicked by the sax).

"Movements" 
Solitary bass clarinet opens up the piece. The use of dynamics is impressive - from barely audible to loud (not raucous). Scraped cymbals accompany with very occasional arco bass punctuations (he makes each one count). A nice wind down and finish to the album.

General observations:

Form/Structure - As mentioned above it is often difficult to distinguish the improvised from the composed. Form is an important element in Gratkowski's work and here he is playing with artists that can realize improvised structure. The compositions (4 by Gratkowski, 1 by Hemingway & 4 group improvisations) play an important part in the form also - the shape of the album as a whole. Each contain different moods, textures, intensities, tempos, densities and relationships between players.

Texture - While Gratkowski doesn't expand his arsenal like he does on some albums (no clari/contra bass clari here) he still creates a variety of textures. Playing with clean and distorted tone, mixed articulations, dynamics, air & key sounds, smears, varied tonal color, multiphonics, microtonality etc. 
Plenty of variety from the rhythm section too. The bass uses pizzicato and arco, scratching sounds, percussive playing, string sounds, slides, bends, harmonics, pulse and non-pulse playing. The drums make use of all the sounds available on the kit, varies attack, pulse/non-pulse, rumbles, crashes, rustles, swings,busy at times but rarely overpowers the rest of the trio. 
All three make great use of space and dynamics across the album. 

Unity - A trio of 3 equal parts. As a sax player, my focus is drawn towards the horn. But everyone is on the same wave length and plays a crucial role in shaping each piece.

To my knowledge this trio only made one other album - "The Flume Factor" (I'll add it to my list) - before evolving into a quartet with the addition of Dutch trombonist Wolter Wierbos.