Song for Someone (album)
Song for Someone is the second album led by trumpeter and composer Kenny Wheeler, recorded in 1973 and released on the Incus label. The album was rereleased on CD on Psi Records in 2004; the Allmusic review by Steve Loewy noted "This recording has a split personality: much of it comes from a solid, 1970s jazz big band perspective, with occasional emblems of the era, solid solos from the leader, trumpeter Kenny Wheeler... known for his work in ensembles in which free improvisation is the unifying factor... Some might find it disconcerting that two disparate styles are juxtaposed together. Others will see it as evidencing the breadth of the music". Uncut's review of the 2004 reissue called it "one of the great British orchestral jazz records". All compositions by Kenny Wheeler. "Toot-Toot"- 4:14 "Ballad Two" - 8:26 "Song for Someone" - 2:40 "Causes are Events" - 8:15 "The Good Doctor" - 15:15 "Nothing Changes" - 4:23 Kenny Wheeler - trumpet, flugelhorn Greg Bowen, Ian Hamer, Dave Hancock - trumpet Keith Christie, David Horler, Bobby Lamb, Chris Pyne - trombone Malcolm Griffiths, Jim Wilson - bass trombone Alfie Reece - tuba Mike Osborne - alto saxophone Duncan Lamont - tenor saxophone, flute Alan Branscombe - piano, electric piano John Taylor - electric piano Ron Mathewson - bass Tony Oxley - percussion Norma Winstone - voice Derek Bailey - guitar Evan Parker - soprano saxophone, tenor saxophone
Paul Rutherford (trombonist)
Paul William Rutherford was an English free improvising trombonist. Born in Greenwich, South East London, Rutherford played saxophone but switched to trombone. During the 1960s, he taught at the Guildhall School of Drama. In 1970, guitarist Derek Bailey and bassist Barry Guy formed the improvising group Iskra 1903, which lasted until 1973; the formation was documented on a double album from Incus reissued with much bonus material on the 3-CD set Chapter One. A film soundtrack was separately released as Buzz Soundtrack. Iskra 1903 was one of the earliest free improvising groups to omit a drummer/percussionist, permitting the players to explore a range of textures and dynamics which set it apart from such other contemporary improvising ensembles as SME and AMM; the group's unusual name is the Russian word for "spark". The "1903" designation means "20th century music for trio"; the group was revived with Philipp Wachsmann replacing Bailey, a phase of the group's life that lasted from 1977 to 1995.
Rutherford played with Globe Unity Orchestra, London Jazz Composer's Orchestra, the Mike Westbrook Orchestra, the Orckestra, a merger of avant-rock group Henry Cow, the Mike Westbrook Brass Band and folk singer Frankie Armstrong. He played a small number of gigs with Soft Machine, he is most famous for solo trombone improvisations. His album The Gentle Harm of the Bourgeoisie is a landmark recording in solo trombone and his 1983 Trio album Gheim, recorded at the Bracknell Jazz Festival is another acclaimed work. Rutherford died of cirrhosis of the liver and a ruptured aorta on 5 August 2007, aged 67. In November 2007 a memorial concert was held at the Red Rose Club in North London in memory of Rutherford, which featured musician friends playing free jazz. Rutherford had been devoted to the country of Cuba and its people, after first playing there in 1986 as part of The Siger Band British Council tours of the country. Rutherford's family presented a euphonium to the Music Fund for Cuba. Rutherford was a major player in the British free improvisation scene and part of the European free jazz scene.
He was one of the first to use unorthodox playing techniques for improvisation. Rutherford was one of the first to use trombone multiphonics, i.e. he sang into the trombone and blew at the same time. Iskra 1903 with Derek Bailey and Barry Guy - reissued as Chapter One 1970-1972 in Emanem in 2000 with additional material With Barry Guy/The London Jazz Composers' Orchestra Ode Discography The Guardian: Obituary 2006 interview Appreciation by Steve Beresford
Roger Turner (musician)
Roger Turner is an English jazz percussionist. He plays the drumset and various percussion, was brought up into the jazz and visual art cultures inhabited by his older brothers, playing drums from childhood in informal jazz contexts. Turner studied English literature and contemporary philosophy at Sussex University, playing with Chris Biscoe for the British Council in 1968, a first concert in improvisation, his move to London gave him contact with the first and second generation improvisers and he began to play with Lol Coxhill, Gary Todd, John Russell, Hugh Davies, Steve Beresford, Phil Minton. In the years after 1974 his work was concentrated on opening the way to a more personal percussion language; this was a period of intense collaborations that structured many of his future approaches to music-making and saw the formation of two long-lasting acoustic duos with Phil Minton and with John Russell. Recordings of these duos document an extreme attention to timbre and pitch, as well as a shifting speed that typified much of his work at the time.
The duo with Minton toured extensively throughout USA and Canada. In 1979 he established CAW records with John Russell and Anthony Wood, recorded the solo album The Blur Between focussing on single surface improvisations: a linear and reduced equipment approach he had started using with Carlos Zingaro and others in live performances. In addition to forming Trump music with Gary Todd to promote improvised music in London, he involved himself in formative activities of the London Musicians Collective during this period, he was awarded Arts Council of Great Britain bursaries for solo percussion in 1980, in 1983 for investigation into percussion with electronics. Extensive festival and club solo work followed, including the Bracknell Jazz Festival and the Brussels Festival of Percussion. In 1982 the trio The Recedents was formed with Lol Coxhill and Mike Cooper exploring the possibilities of electro-acoustic music, in which Turner played drumset and EMS Synthi A as a means of bending the sounds of various metal percussion instruments.
This group, still existing, mixes song, punk/thrash, with acoustic detail in always shifting sonorities, has worked throughout Europe and the UK recording for the French Nato label. Involvements with experimental rock musics and open-form song included extensive work in duo with Annette Peacock 1983-5, with whom he toured in Europe and Scandinavia, they recorded the album. In 1984-5, he was invited for workshop residences at Alan Silva's Institute Art Culture Perception in Paris, where long-term collaborations with Alan began, culminating in The Tradition Trio with Johannes Bauer; this group was central to his explorations of forms of free jazz, an interest that has seen him working with musicians on both sides of the Atlantic. Since the early 1980s his work has focussed on numerous projects with improvising musicians and groups, touring Europe, Australia, USA and Canada; the most important of the groups would be Konk Pack, formed in 1997, with Tim Hodgkinson and Thomas Lehn, a group whose use of volume and sense of detail continues the exploration of an electro-acoustic dynamic that forms one of his main musical concerns.
This group has toured extensively in Europe and USA. He forged working relationships with Japanese musicians over the years: in the 1980s with Toshinori Kondo in the trio with John Russell, but since the mid-1990s in concerts and recordings with guitarist Kazuhisa Uchihashi in Austria, U. K, in the recent Hana-Bi three-day event in London that included the guitarist and the pianist Chino Shuichi. An active involvement in visual art has always been in dialogue with his music, an inspiration for it. In the forefront of this is his work with Susan Turcot (the investigation/documentation of music and sound-drawing both in Europe and Canada—including the Being Rich box collection --, music for her 2008 animation film Bitumen and the Carbon Climb, his music for dance/performance includes work with Alexander Frangenheim's Concepts of Doing, Stuttgart. In March 2009 he was invited to travel and perform on the Arctic island Svalbard, was invited to attend and play in the Comprovise event in Cologne, Germany in June 2009, set up to examine any possible relationship between improvisation and composition.
Turner's music-making with international improvisers in ad hoc and group collaborations have since the 1970s to the present day included Toshinori Kondo, Derek Bailey, Fred Frith, Evan Parker, William Parker, Cecil Taylor, Otomo Yoshihide, Shelley Hirsch, Joelle Leandre, Keith Rowe, Ab Baars, Barry Guy, Barre Philips, Henry Grimes, Paul Rutherford, Gunter Christmann, Marilyn Crispell, Irene Schweizer, Frederik Rzewski, Malcolm Goldstein. Sunday Best, Incus, w/Gary Todd Artless Sky, Caw, w/Toshinori Kondo & John Russell The Blur Between, solo Cous Cous, Nato, w/Lol Coxhill Ammo, Leo, w/Phil Minton I have no feelings, Ironic, w/Annette Peacock Barbeque Strut, Nato, w/The Recedents Ruff, Leo, w/Minton,Tomlinson, Davies Several young men ignite, Reflex, w/The Nose Flutes Take some risks, In Situ, w/Alan Silva,Didier Petit Frogdance, Impetus, w/The Recedents Zombie Bloodbath, Nato, w/The Recedents Dada da, Leo, w/Phil Minton Mouthful of Ecstasy, Victo, w/Minton Quartet Birthdays, Emanem, w/John Russell In the tradition, In Situ, w/Alan Silva & Johannes Bauer Per s.e.
Jeremy Webster "Fred" Frith is an English multi-instrumentalist and improvisor. Best known for his guitar work, Frith first came to attention as one of the founding members of the English avant-rock group Henry Cow, he was a member of the groups Art Bears and Skeleton Crew. He has collaborated with a number of prominent musicians, including Robert Wyatt, Derek Bailey, the Residents, Lol Coxhill, John Zorn, Brian Eno, Mike Patton, Lars Hollmer, Bill Laswell, Iva Bittová, Jad Fair, the ARTE Quartett, Bob Ostertag, he has composed several long works, including Traffic Continues and Freedom in Fragments. Frith produces most of his own music, has produced many albums by other musicians, including Curlew, the Muffins, Etron Fou Leloublan, Orthotonics. Frith is the subject of Nicolas Humbert and Werner Penzel's award-winning 1990 documentary Step Across the Border, he appears in the Canadian documentary Act of God, about the metaphysical effects of being struck by lightning. Frith has contributed to a number of music publications, including New Musical Express and Trouser Press, has conducted improvising workshops across the world.
Frith's career spans over four decades and he appears on over 400 albums. He still performs throughout the world. Frith is Professor of Composition in the Music Department at Mills College in Oakland, California, he lives in the United States with his wife, German photographer Heike Liss, their children, Finn Liss and Lucia Liss. Frith was awarded the 2008 Demetrio Stratos Prize for his career achievements in experimental music; the prize was established in 2005 in honour of experimental vocalist Demetrio Stratos, of the Italian group Area, who died in 1979. In 2010 Frith received an honorary doctorate from the University of Huddersfield in West Yorkshire, England in recognition of his contribution to music. Frith is the brother of Simon Frith, a music critic and sociologist, Chris Frith, a psychologist at University College London. Frith was born in Heathfield in Sussex, England into a family where music was considered an essential part of life, he became a member of his school orchestra. But at 13 he switched to guitar after watching a group imitating a popular instrumental band at the time, the Shadows.
He decided to learn how to get into a band. Frith taught himself guitar from a book of guitar chords and soon found himself in a school group called The Chaperones, playing Shadows and Beatles covers, but when Frith started hearing blues music from the likes of Snooks Eaglin and Alexis Korner it changed his whole approach to the guitar, by the time he was 15, The Chaperones had become a blues band. Frith's first public performances were in 1967 in folk clubs in the North of England, where he sang and played traditional and blues songs. Besides the blues, Frith started listening to any music that had guitar in it, including folk, classical and flamenco, he listened to Indian and Balinese music and was drawn to East European music after a Yugoslav school friend taught him folk tunes from his home. Frith went to Cambridge University in 1967, where his musical horizons were expanded further by the philosophies of John Cage and Frank Zappa's manipulation of rock music. Frith graduated from Christ's College, Cambridge with a BA in 1970, but the real significance of Cambridge for him was that, where the seminal avant-rock group Henry Cow were formed.
Frith met Tim Hodgkinson, a fellow student, in a blues club at Cambridge University in 1968. "We'd never met before, he had an alto sax, I had my violin, we just improvised this ghastly screaming noise for about half an hour." Something clicked and, recognizing their mutual open-minded approach to music and Hodgkinson formed a band there and then. They called it Henry Cow and they remained with the band until its demise in 1978. In the early 1970s Fred's grey Morris Minor sported the band's heraldic logo, much to the amusement of boys at his dad's grammar school in York where he was the headmaster. Frith composed a number of the band's notable pieces, including "Nirvana for Mice" and "Ruins". While guitar was his principal instrument, he played violin, bass guitar and xylophone. In November 1973, Frith participated in a live-in-the-studio performance of Mike Oldfield's Tubular Bells for the BBC, it is available on Oldfield's Elements DVD. After Henry Cow's first album, Frith released Guitar Solos in 1974, his first solo album and a glimpse at what he had been doing with his guitar.
The album comprised eight tracks of unaccompanied and improvised music played on prepared guitars. It was recorded in four days, at the Kaleidophon Studios in London's Camden Town, without any overdubbing; when it was released, Guitar Solos was considered a landmark album because of its innovative and experimental approach to guitar playing. The January 1983 edition of DownBeat magazine remarked that Guitar Solos "... must have stunned listeners of the day. Today that album stands up as uniquely innovative and undeniably daring." It attracted the attention of some "famous" musicians, including Brian Eno, resulting in Frith playing guitar on two of Eno's albums and After Science and Music for Films. In late 1974, Frith contributed a series of articles to the British weekly music magazine New Musical Express entitled "Great Rock Solos of Our Time". In them he analysed prominent
John Zorn is an American composer, record producer and multi-instrumentalist with hundreds of album credits as performer and producer across a variety of genres including jazz, hardcore, surf, soundtrack and improvised music. He incorporates diverse styles in his compositions, which he identifies as avant-garde or experimental. Zorn was described by Down Beat as "one of our most important composers". Zorn established himself within the New York City downtown music movement in the mid-1970s, performing with musicians across the sonic spectrum and developing experimental methods of composing new music. After releasing albums on several independent US and European labels, Zorn signed with Elektra Nonesuch and received wide acclaim with the release of The Big Gundown, an album reworking the compositions of Ennio Morricone, he attracted further attention worldwide with the release of Spillane in 1987 and Naked City in 1990. After spending a decade travelling between Japan and the US, he made New York his permanent base and established his own record label, Tzadik, in the mid-1990s.
Tzadik enabled Zorn to maintain independence from the mainstream music industry and ensured the continued availability of his growing catalog of recordings, allowing him to prolifically record and release new material, issuing several new albums each year, as well as promoting the work of many other musicians. Zorn has led the hardcore bands Naked City and Painkiller, the Jewish music-inspired jazz quartet Masada, composed 613 pieces as part of the three Masada songbooks that have been performed by an array of groups, composed concert music for classical ensembles and orchestras, produced music for opera, sound installations and documentary. Zorn has undertaken many tours of Europe and the Middle East performing at festivals with many other musicians and ensembles that perform his diverse output. John Zorn was born in New York City and learned piano and flute as a child, his family had diverse musical tastes: his mother, listened to classical and world music, his father, Henry Zorn, was interested in jazz, French chansons, country music, his older brother collected doo-wop, 1950s rock and roll records.
Zorn attended the United Nations International School from kindergarten to high school associating with school friends from many different cultures. He spent his teenage years exploring classical music, film music, and, "listening to The Doors and playing bass in a surf band." He acquired an interest in experimental and avant-garde music after buying a record by Mauricio Kagel in 1968 at the age of fifteen. He taught himself orchestration and counterpoint by transcribing scores and studied composition under Leonardo Balada. Zorn started playing the saxophone after discovering Anthony Braxton's album For Alto when he was studying composition at Webster College in St. Louis, where he attended classes taught by Oliver Lake. While still at Webster, he incorporated elements of free jazz, avant-garde and experimental music, film scores, performance art and the cartoon scores of Carl Stalling into his first recordings which were released as First Recordings 1973. Zorn dropped out of college and, following a stint on the West Coast, moved to Manhattan where he gave concerts in his apartment and other small NY venues, playing saxophone and a variety of reeds, duck calls and other instruments.
Zorn immersed himself in the underground art scene, assisting Jack Smith with his performances and attending plays by Richard Foreman. He founded a performance art project called the Theatre of Musical Optics in 1975 and became a major participant in the downtown music scene as a composer and producer of music that challenged the confines of any single musical genre. Zorn's early major compositions included several game pieces described as "complex systems harnessing improvisers in flexible compositional formats"; these compositions "involved strict rules, role playing, prompters with flashcards, all in the name of melding structure and improvisation in a seamless fashion". Zorn's game pieces were titled after sports, include Track & Field, Lacrosse, Curling, Hockey, Fencing and Archery, several of which were recorded and released on Eugene Chadbourne's Parachute label, becoming the first albums under Zorn's leadership, his most enduring game piece is Cobra, composed in 1984 and first released on album in 1987 and in subsequent versions in 1992, 1994 and 2002, revisited in performance many times.
In the early 1980s, Zorn was engaged in improvised performance which included "blowing duck calls in buckets of water at fringe venues" as both a solo performer and with other like-minded artists. Zorn's first solo saxophone recordings were released in two volumes as The Classic Guide to Strategy in 1983 and 1986 on the Lumina label. Zorn's early small group improvisations are documented on Locus Solus which featured Zorn with various combinations of other improvisers including Christian Marclay, Arto Lindsay, Wayne Horvitz, Ikue Mori, Anton Fier. Ganryu Island featured a series of duets by Zorn with Michihiro Sato on shamisen, which received limited release on the Yukon label in 1984. Zorn has subsequently released these recordings as CDs on Tzadik making them more available than the original vinyl pressings. Zorn's breakthrough recording was 1985's acclaimed The Big Gundown: John Zorn Plays the Music of Ennio Morricone, where Zorn offered radical arrangements of music from Ennio Morri
Barry John Guy is a British composer and double bass player. His range of interests encompasses early music, contemporary composition and improvisation, he has worked with a wide variety of orchestras in the UK and Europe, he taught at Guildhall School of Music. Born in London, Guy came to the fore as an improvising bassist as a member of a trio with pianist Howard Riley and drummer Tony Oxley, he became an occasional member of John Stevens' ensembles in the 1960s and 1970s, including the Spontaneous Music Ensemble. In the early 1970s, he was a member of the influential free improvisation group Iskra 1903 with Derek Bailey and trombonist Paul Rutherford, he formed a long-standing partnership with saxophonist Evan Parker, which led to a trio with drummer Paul Lytton which became one of the best-known and most travelled free-improvising groups of the 1980s and 1990s. He was a member of the Michael Nyman Band in the 1980s, performing on the soundtrack of The Draughtsman's Contract. Guy's interests in improvisation and formal composition received their grandest form in the London Jazz Composers Orchestra.
Formed to perform Guy's composition Ode in 1972, it became one of the great large-scale European improvising ensembles. Early documentation is spotty – the only other recording from its early years is Stringer – but beginning in the late 1980s the Swiss label Intakt set out to document the band more thoroughly; the result was a series of ambitious, album-length compositions designed to give all the players in the band maximum opportunity for expression while still preserving a rigorous sense of form: Zurich Concerts, Double Trouble, Three Pieces, Double Trouble Two. The group's activities subsided in the mid-1990s, but it was never formally disbanded, reconvened in 2008 for a one-off concert in Switzerland. In the mid-1990s Guy created a second, smaller ensemble, the Barry Guy New Orchestra. Guy has written for other large improvising ensembles, such as the NOW Orchestra and ROVA, his current improvising activities include piano trios with Agusti Fernandez. He has recorded several albums for ECM, which focus on the interface between improvisers and electronics, including his work in Evan Parker's Electro-Acoustic Ensemble and his own Ceremony.
Guy's session work in the pop field includes playing double bass on the song "Nightporter", from the Japan album Gentlemen Take Polaroids. He is married to the early music violinist Maya Homburger. After spending some years in Ireland, they now live in Switzerland, they run the small label Maya, which releases a variety of records in the genres of free improvisation, baroque music and contemporary composition. In 2016 Guy was appointed Honorary Professor at the Rhythmic Music Conservatory in Copenhagen, where he periodically conducts workshops and master classes. Guy's jazz work is characterised by free improvisation, using a range of unusual playing methods: bowed and pizzicato sounds beneath the bass's bridge, his improvisations are percussive and unpredictable, inhabiting no discernible harmonic territory and pushing into unknown regions. However, they can be melodious and tender with due regard for harmonic integration with other players, at times he will play with a straight jazz swing feel.
In his concert works, Guy manages to alternate harmonic and rhythmic complexity worthy of 1960s experimentalists such as Penderecki and Stockhausen with joyous ecstatic, melody. Works such as "Flagwalk" for string orchestra and "Fallingwater – Concerto for Orchestra" display Guy's compositional skill in handling extended forms and writing for large instrumental groups; some of his compositions, such as "Witch Gong Game" for ensemble, use graphic notation in conjunction with cue cards to lead performers into playing and improvising material from numbered sections of the score. He is an architect. Incontri Anna Flagwalk Songs from Tomorrow Voyages of the Moon The Eye of Silence UM 1788 After the Rain Concerto for Orchestra: "Fallingwater" Bitz! D Look Up! Play Statements II – Ex Works for 2–6 Players: Bubblets Buzz Eos X The Eye of Silence (1989 Four Miniatures Games Mobile Herbarium Pfiff Redshift rondOH! String Quartet No.2 Un Coup de Dés Whistle and Flute Celebration Statements II Remembered Earth The Road to Ruin String Quartet No.3 Waiata Eos Kingdom No Man's Land Video Life Breaking the Surface Hold Hands and Sing These works are published by Chester Novello, UK, further information may be found on their Barry Guy page.
Statements V-XI for double bass and violone, Incus 22 – Early solo playing Assist, Jazz & NOW 4 – Solos plus a long duo improvisation with Fred Van Hove Fizzles, Maya MCD 9301 – Solo doublebass and chamber bass Symme